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Conference Board
Boronnikova, Natalya (Perm State Research University) Georgievska-Jakovleva, Loreta (University "Ss Cyrill and Methodius") Koleva, Daniela (University of Sofia) Miodyński, Lech (University of Poznań) Panovski, Naum (Poiesis Theatre Project) Pavlovski, Mishel (University "Ss Cyrill and Methodius") Podmaková, Dagmar (Slovak Academy of Sciences) Soini, Katriina (University of Jyväskylä) Совет конференции Бороникова, Наталья (Пермский государственный национальный исследовательский университет) Георгиевска-Яковлева, Лорета (Университет св. св. Кирилла и Мефодия) Колева, Даниела (Софийский университет) Миодинский, Лех (Университет в Познани) Павловски, Мишел (Университет св. св. Кирилла и Мефодия) Пановски, Наум (Poiesis Theatre Project) Подмакова, Дагмар (Словацкая академия наук) Соини, Катрина (Университет Ювяскюля) Одбор на Конференцијата Бороникова, Наталија (Пермски државен истражувачки универзитет) Георгиевска-Јаковлева, Лорета (Универзитет „Св. Кирил и Методиј“) Колева, Даниела (Универзитет во Софија) Миодински, Лех (Универзитет во Познањ) Павловски, Мишел (Универзитет „Св. Кирил и Методиј“) Пановски, Наум (Poiesis Theatre Project) Подмакова, Дагмар (Словачка академија на науките) Соини, Катрина (Универзитет во Јуваскула)

Centre for Culture and Cultural Studies Центр культуры и культурологических исследований Центар за култура и културолошки студии

Book of Abstracts Тезиси Апстракти
1st Annual CCCS Conference "Cultural Memory" Конференция «Культурная память» Прва Годишна Меѓународна конференција „Културна меморија“

5-7 September 2013, Skopje 5-7 сентября 2013 г., Скопье Скопје, 5-7 септември 2013

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Individual Papers Тезисиы Апстракти .

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I will moreover explore the way they fail to acknowledge that post-war ethnic identities and collective and individual memories and forgetting related to war-time mass violence are not what people “have”. regarding Bucharest streets named after people of Jewish origin. 50 autobiographical interviews and 12 focus groups in three different countries. past and present. secondly. accounts of their migration experiences. 6 interviewers). Aiming at understanding how historical references were used to support and reject national. National School for Political Studies and Public Administration. consequent measures according to international conventions and public interest represented by cultural and natural heritage. As can be observed. the content and discourse analyses that were conducted. In each of these thematic categories. What Romania has lacked after 1989 was a coherent approach by the responsible authorities. we conducted. ethnic and gender auto and heterorepresentations. intercultural encounters. Toponymic heritage is part of cultural heritage. with historic houses and gardens. roles and identities. allowed us to understand how the participants used language to (re)construct meanings. One of the main implications of this study is to challenge predefined migrants’ hetero-representation and hegemonic interpretations of ethnic relations within our geographical scope. thirdly. migration. which would have required judiciary acknowledgement of the fact that cultural and natural heritage is a national priority. they also fail to recognize that the various identity formations and “we/they” divides in the post-war times are not felt and mapped onto places on one side of the city only. Irina. synchronic and diachronic study. so that they can be known. and finally. bear the names of notable figures in the local Jewish community. however it has not been the object of systematic. Architectural and toponymic heritage must become part of the curriculum of all higher schools of public administration. moreover. through autobiographical accounts. These streets. Moreover. They are a definitory component of European identity. as well as their correlation with the individual experiences narrated. Romania The toponymic heritage of Bucharest: Streets bearing Jewish names Regarding the protection of cultural heritage and its integration into greater projects of durable development. we believe that our research has the potential to contribute to the development of an integrative theoretical understanding of cross-cultural identitarian construction. is a component of the interdisciplinary. On the bases of an ethnographic research conducted in Mostar. comparative study of the toponymy of Bucharest streets. identities. the different interpretations of historical facts and the conflicts they entailed in the individual identity narratives of migrant people within the Portuguese-speaking countries. Keywords: Airinei Vasile. thankfully without having been separated by the walls of a ghetto. with specific narrative structures. In scholarly works. collected under different conditions (8 cities. social representations. Bucharest. In order to articulate the ensemble of the multilayered memories collected by our research team. which must be known to the public in order to increase the respective areas’ appeal and promote durable development and social cohesion. In the context of Mostar. Romania has yet to implement efficient. preserved and protected by future civil servants. Mozambique and Portugal. Aware of the great variety of life stories. University of Minho (De)constructing the Past: cross-cultural analysis of migrants accounts in Brazil. Mozambique and Portugal In this paper we will examine. urban planners and policy makers describe and interpret these memories in their various professional responses to the post-war divided city? In most of the cases. Communication and Society Research Centre. having survived the destructive fury of the Ceausescu era. Bosnia-Herzegovina. collective remembering Aceska Ana. The present paper. we examined the presence of historical facts and characters. Keywords: . How are the collective and individual memories and forgetting related to mass violence taken into account when planning the post-war divided city? How do scholars. taking the Portuguese-speaking ‘space’ as our geographical frame. in my paper I will challenge these takenfor-granted ways of conceptualizing and planning the divided city. I will argue that these approaches fail to recognize the extent to which spaces can be “neutral” in a city that is a locus of collective and individual memories and forgetting related to mass violence. auto and hetero-social representations. these cities are being conceptualized as sites where the memories of mass violence are more present than elsewhere. based on contributions mainly brought from cultural and communication studies. we leaned toward some current oral history perspectives that emphasise the role of narratives in the remembering process by combining various cultural symbol systems and integrating them within one symbolic space. but what people “negotiate” in their everyday lives.7 Abadia Lilia. the consequence is a rapidly progressing loss of heritage. situated in old quarters of the city. as well as the necessary financial support and consideration. The toponymic heritage in Bucharest is proof of a natural cohabitation of Romanian and Jewish populations. Cabecinhas Rosa & Macedo Isabel. Furthermore. we established our analysis focus on firstly. namely: Brazil. considering that social memory has been investigated in very fragmented paths. Humboldt University of Berlin “Remembering the Joint Past of a Divided City: Reflections from Mostar. the urban planning strategies in these cities are focused on the creation of “common” or “neutral” spaces which are planned as sites of “forgetting” rather than “remembering”. acculturation and cultural consumption. Keywords: autobiographical narratives. under the scope of an ongoing research project. This would help configure a local spiritual identity and preserve the particularities of the respective areas. Bosnia-Herzegovina” In this paper I will give an insight to the interplay between memories and space in a post-war divided city.

This process. The fundamental similarities through which it can reveal us to the world represents the profound truth of a spirit that visits us all. In many communities. In this respect. the sick person cheats fatality. we do not think it is a simple cultural phenomenon. becomes a pattern through reiteration. Keywords: alcanism. the new name could protect the human being for his/her entire life. Nefes performance in Bektashi rituals provides three functions required for the fulfillment of the unifying and activity-oriented impulses of the cultural memory: storage (nefes). the two persons – the two mothers . This is another element for what Balkanism could mean. in our paper. etc. Turanian and even Hellenic expansion. according to Halbwachs. previous to the Latin. beyond all differences. Dokuz Eylul University Bayrampasa Bektashi Community in the Transfer of Cultural Memory Despite the existence of written resources. This custom of changing a name by the help of „selling” the baby has been preserved today too. From the perspective of the group. This is how. the change of a name consisted in a ritual of „selling” the ill baby to another mother who had healthy children. University of Craiova The Balkan Melos and the cultural (international) magazine Carmina Balcanica The concept of Balkanity allows the perception of those elements that impregnate the psychology. communication (listening. cultural expressions Albu Mihaela. are motivated by the members of the community to perform a nefes. in which the aesthetic perception of the group is also decisive. poetry. Keywords: cultural memory. distribution induces the emergence of memory specialists such as griot or bard. the inhabitants of the Levant. new name.) and the performer. in the Balkans. This research aims to analyze how cultural memory and social identity are reconstructed in today’s Bektashi communities through the association of nefes with group members. above history and languages. So. Vulpe (Fox). They had a magic significance and the community believed the qualities of these animals could be transferred to a person. In the past. retrieval (performance). magic function. in the future. who participate in the ritual. This paper considers the politics of re-constructing memory of communist past. Bektashi. so he can trick death. there is still an essence that includes also us. Particularly. an international cultural publication offers. The tradition says that giving him/ her a new name. including for the descendents of the former child. Here. as well as the endless tragedies of some unhappy histories. nefes. Angelovska Despina. book-reviews. cultural memory is a matter of knowledge distribution among the members. the unique impress of an old civilization that still exists in us. this process is functional in fictionalization and sustainability of the social framework which. Music/Nefes (spiritual songs). Individuals. The old name was forever forgotten and it was never pronounced by anyone. possibly. an identification of rhythms and trajectories of thinking and expressing that are essential for Southeastern spirituality as forma mentis. the tragedy was born. in the Bayrampasa Bektashi Community. An existing unity in the forms of expression can be found in Carmina Balcanica. which are obviously different.8 Albu Mihaela. exemplified in a Bektashi community settled in Bayrampasa district of Istanbul. cultural memory is not carried by a single person but by many members. Keywords: popular beliefs. in fact a name as a camouflage. and. as displayed . Regarding the process of „selling” – it was like a serious act. Usually. Association of a nefes with a group member facilitates the recalling of the contents of the text (an ethical concept. Southeastern spirituality . Bektashism has essentially relied on oral tradition. Latin or Slavic oldness. in different ways: Poetry can be considered also a reason for the History development in the past and. forms the memory. accompanying). interrelated. etc. Poetry – as understood in our magazine – is our possible (re)-unifying element. is the primary instrument used by the Bektashi communities in establishing their world of symbolic meanings.acted as in a real transaction. Ursu (Bear). membership of the individual who shares the cultural memory of the community is approved. especially in the rural society. Thus. This is realized by associating certain members with specific texts. In this way. at the same time. by the help of essays. In other words. mentality and. The new name became his/her real name. with our mutual identity in the same old and harmonious original lands. Hellenic. the artistic creation in the specific forms of Southeastern man’s sensitivity of yesterday and of today. a historical event or figure. University of audio-visual arts ESRA-Skopje Re-shaping memory of communism: The Museum of the victims of communism in the project “Skopje 2014” After the fall of communism in Europe. Or Balkanity! It was stated before. the cultural magazine Carmina Balkanica is an attempt to give substance to that concept. rural society Ali Keleş. Therefore. However. which is a part of this oral tradition and which accommodate various figures of memory. Zabava Camelia. we present a ritual that asks to change the name of a sick person having as a specific aim to avoid the bad fate. Then she bought him/ her back under a different name. Slavic. the new names were Lupu (Wolf). we analyze also if (and how) this old practice is relevant in Romanian modern society. unity and diversity. probably. The great Romanian historian Nicolae Iorga explained the numerous similarities that emphasize the unity of the Balkanic peoples by the old ethnic element of Thracian origin. University of Craiova Anthroponomy and the Romanian popular beliefs In this article we intend to discuss an old Romanian popular belief regarding the name as a magic protective function for a human being. reckoning with the authoritarian past and re-shaping memory was one of the challenges of post-communist nation-building. beyond our original Thracic. Within a dispute of the elements.

prior to the consolidation of a hegemonic nation narrative in Ireland spaces existed for the exploration of a range of masculinities. И только одна аналогия. Focusing moreover on the museum visitors’ experiences. Флоренского об органопроекции. не раз воплощается в пространственных искусствах. почти во всех стилях европейского искусства – это антропоморфизм. И. Создаётся база для экспериментальных и теоретических приемов. воплощаемых на практике. Опыт рефлексии собственной телесности. Gail. возможно. принятой в пространственных искусствах. It examines the politic of memory embodied in “Skopje 2014” as reflecting the broader struggle of the Macedonian post-communist political elites for control over the collective memory and creation of a new nation-building narrative and national identity. абстрагированных пространствах ХХ века.9 in the Macedonian Government's project “Skopje 2014” and more particularly in the Museum of the victims of communism. Зооморфизм. Through the example of the Museums of the victims of communism. memory. has played a significant role in post-communist memory culture. уже приходит время воплощения на практике учения П. по которым развивается формотворчество. To exclude . В результате таких сложных. по мере появления новых моделей. Культуроиды могут со временем претерпевать изменения в своей образной природе. has enabled critical re-thinking of th narratives of museum displays. in that sense. способные лучше охватить отношения познающего субъекта с окружающим миром. museum visitors’ experience . alongside monuments and memorials. the article also concentrates on the political and affective meanings it communicates to visitors. Keywords: (post)communism.и экоморфизма в пространственных искусствах.А. Bigger (1863-1926) was a leading cultural activist who was known throughout Ireland during the Gaelic revival (c. и атомистическая картины мира.е. construct history selectively. The obscurity into which both he and his photographs have fallen offers an instance of collective forgetting. расширяющие и продолжающие возможности этого тела. Приоритет биообразов в ХХ веке сменился приоритетом техноморфизма. Традиционная система мышления в новых обстоятельствах насыщает морфизм иным подтекстом. The selective and political dimension of museum. The museum. As argued by Pierre Nora. Каждая сфера культуры обладает своей специфической системой морфизмов. где орудия и инструменты представлены. These images are for current viewers difficult to read but by rebuilding the context of their initial production it becomes apparent that the photographs construct a narrative of nation and one that held currency at the beginning of the twentieth century. becoming an instrument for glorification and legitimization of power-holders. as pointed out by new museology. но зародившиеся внутри этого стиля рациональные течения авангарда представляли собой обобщение принципов машинной эстетики. В ХХI веке с его новыми возможностями всё чаще используются и био. в физике в разное время использовалась и механистическая. Морфизмы создают особую сферу структур-культуроидов разного уровня сложности. Photographs serve to support this process. а отсюда и аналогии XVII века . то в современном искусстве смена приоритетов спрессована в невероятно короткий отрезок времени. одно уподобление встречается на всех этапах истории. однако и он практически растворяется в обобщённых. The forgetting of certain photographs is both inherent in how the nation comes to understand itself and also in how it is remembered and thereby concurrent with a sense of national identity and belonging. Ещё в начале ХХ века в искусстве модерна продолжались традиции приоритетного использования фитоморфных структур. также воспринятая в искусстве.и техноморфизм одновременно. Но в этом случае должны измениться представления о своей телесности у самого человека. культурная память Baylis. т. непредсказуемых трансформаций значения рождались и рождаются многомерные структуры. прослеживаются параллели между стилями в искусстве и стилями мышления. И если в древних цивилизациях каноны определяли существование одних и тех же приёмов на протяжении тысячелетий. техноморфизма. victims of communism. Философские и научные воззрения тесно переплетаются с мировоззренческой установкой. museum. However. которые к тому же эволюционируют. the paper considers in details the representation of the communist past in the Museum of the victims of communism. как продолжения человеческого тела. имея новые трактовки. University of Ulster Remembering to Forget: marginalized visual representations in the Irish nation narrative The nation narrative operates by closing down the possible ways the nation can be imagined. That narrative is visualised through an emphasis on the figure of the youthful male body as a site of gender performance. Which photographs are chosen for the nation narrative is therefore important as that choice becomes the means by which the state claims its legitimacy and maintains it through visual recall.and techno-morphic images in Cultural Memory of the epoch Связь пространственной среды с культурными традициями эпохи образует стилевое единство в развитии различных видов искусства.1890s-1920s). This paper focuses on one of those expressions found in the Francis Joseph Bigger photographic collection. практически исчезает. Baykova Ekaterina. The museum. rather than simply evoking memory. Например. this paper considers how museum and memoralization practices can be also used to force a specific ideology upon society and to consecrate a particular version of history. Ключевые слова: пространственный образ. очень популярный в эклектике ХIХ века. Особенно это заметно в архитектуре органи-тека. образуя три направления. био и техноморфный образ. биологическим и лэндформным образам. memory politics. national identity. Saratov State Technical University Bio. memoralization. The photographs considered comprise a series taken in 1902 showing adolescent males in Elizabethan costume. recreates and sanctions history and decides which parts of the past are to be commemorated or obliterated. museums.«механоморфизмы» Ньютона и Гука или атомистическая картина мира в ХХ веке. Taking into account the theoretical assumptions of memory politics and of the new museology. Наиболее интересным является воплощение принципов техно. основанной на уподоблении техническим. nation-building.

However. and politics of how cultural memory is used in the process of selective collective remembering and forgetting. with a global following and an international and domestic history of controversy. Other diverse fields such as ideological discourse. Emerging in the wake of Tito's death and shaped by the break-up of Yugoslavia. The West only survives because it slyly established a system. according to Gržinić. parallel identities means for its rebuilding in the wake of genocide and war. and plot is needed. Keywords: gender performance. literature classroom Begicevic Alma. Irish history. Retrogardism Bell. The NSK is a multi-disciplinary collective primarily comprised of three groups: IRWIN (visual arts). and comparative. between BH and Serbia.’ . Claudia. What is promoted rather is a form of political and social order that enables a limited ‘living together’. Laibach are Slovenia’s most famous cultural export. Slovenia. Keywords: Identity. identity and ethical issues. Ana. Noordung (theatre).Laibach (2003) Keywords: Laibach. counter-narrative. like music and visual art. Eastern Europe. Integration is mostly about correlation with history and other arts.beach activities in summer. Anglia Ruskin University. masculinities. characters. Cambridge Laibach and the NSK: Aestheticising the East/West Nexus in Post-Totalitarian Europe This paper reflects a study in how the Slovenian “art-political” movement the NSK (Neue Slowenische Kunst) and more specifically its sub-group Laibach interrogate the representation of Central and Eastern European cultural memory in the context of postcommunism. It suggests that this establishment of a framework to enable political reconciliation. “Balkanisation” and the wider notion of European identity are all fertile ground for Laibach and the NSK’s controversial provocation. With the strategy of Retrogardism. impacts the course of transitional justice and social repair processes. more attention has to be paid to the discussion of the issues that the movie provides itself. The University of Melbourne Rethinking Transitional Justice and Social Repair: the Case of Bosnia and Herzegovina The study considers what the construction of BH as a state with fixed. northern Slovenia. and operate as a nexus between Eastern Europe and the West. Championed by Slavoj Žižek for their subversive strategy of over-identification with the totalitarian spectacle. both nationally within BH and regionally. This separation of identities has become fixed both in BH and across the region. rather than state accountability.as well as an array of vintage artefacts. NSK. La vita e bella by Roberto Benigni. This paper explores how the signs of gender fluidity in these photographs serve to disrupt the story of nation by laying bare its overinvestment in heterosexual masculinity. which is to create a counter narrative. accountability becomes secondary. which insists on people’s freedom. The latter are locally manufactured . Retrogardism is unique to Eastern European aesthetic praxis and as such has been recontextualised by artist and cultural theorist Marina Gržinić as the new “ism” from the East. Suprematism. Accountability. Therefore. which late-capitalism can only relate to as offensive kitsch. Social-repair Bell Simon. The consequence of this process is that the accountability process is also restricted to individual and communal.10 may well be in the Foucaultian sense an exercise of power but it also has an affect. This paper proposes various methods and techniques for teaching Roberto Benigni's motion picture La vita è bella. integrated. Faculty of Humanities and Social Sciences Methodical Approaches to Roberto Benigni's La vita è bella in a Literature Classroom: Discussing Identity and Ethical Issues A motion picture has been used in a literature classroom for decades. ‘Only one subject is topical: history – the re-appropriation of history’. The study explores these relationships to contemplate how cultural memory. symbols. with the aim of nourishing students' positive human values. where limited constitutional identities have been fixed as a form of power sharing arrangement. ‘The East collapsed because it blindly believed in the Western utopian definition of freedom of the individual. For the East. emphasis is put on a comparative approach – the movie and the chosen literature work in correlation. nationalism. on the basis of themes. Problem-oriented approach explores identity and ethical issues. Laibach (music). visual collective memory. University of Auckland Cultural memory inscribed in the skin: symbols of nation as tattoo art in New Zealand. Bede. Laibach and the NSK re-mythologise totalitarian iconography associated with Nazi Kunst and Socialist Realism. motion picture class. motifs. Recognition. food rituals . cinema class. Through this process of remythologisation Laibach explore the unfinished narrative of Communism and the legacy of the European traumatic historical in the context of a “post-ideological” age. Josip Juraj Strossmayer University of Osijek. collective forgetting. Transitional-justice. the NSK were founded in 1984 in Ljubljana. motion picture. in different methodical approaches: problem-oriented. movie-literature class and a class about a movie and a director are systematically developed. as well as the interpretation of movie characters. While in contemporary literature teaching more systematic affiliation between literature and motion pictures. The term embraces everyday popular cultural practices . and its most influential delivery system. Keywords: methodical approaches. In New Zealand there is a strand of cultural memory popularly known as ‘kiwiana’.

two institutional buildings and two commemorative monuments from the dictatorial era. and increasing cultural diversity as new immigrant groups settled in this country. Keywords: . This presentation focuses on specific sites located in the cities of Madrid and Santiago de Chile. household crockery and toys. Those items. One wearer of such a tattoo.Petersburg National Research University of IT. after a difficult process of negotiation and conflict. Keywords: collective memory. and whilst body tattoos in general have joined the realm of fashion. in which they often expressed their nostalgic commitment to earnest guardianship of otherwise potentially lost material remnants of national history. sound as text. St. Mechanics and Optics At sources of cultural tourism: British travelers of on Northern tour The 2nd half of XVIII – the 1st half of XIX cent. Recently a further celebratory strand of kiwiana has appeared: the inscription of its symbols and objects as extensive permanent skin tattoos. today the symbols of past violence are incorporated in a sort of human rights liturgy that any political authority must assume as a necessary element of its present legitimization. These symbols convey a period before the major social changes brought about by feminism. have become popular collectibles. nation. Keywords: sound art. Sites where episodes of collective violence have taken place can be read as marks: concrete realities that are at the same time territorial representations of what has happened. kiwiana might be seen as signifying a re-actionist stance. 1973-1990 and Spain. as they express in those public spaces. Kiwiana tattoo as a growing everyday practice is the focus of this presentation. curation.11 items originating mainly in the 1940s-50s. 4 exhibition multiples and 1 publication. I am very proud of who we are and I wouldn’t change being a kiwi for the world’. Planning for the series began in 2007―at the same time that the official Cultural Olympiad was starting up―and so the archive of yearly exhibitions reflects both changes to site and the evolving mood as the event neared. curation and legacy. Sites of State Violence and the construction of democracy: Spain and Chile in comparative perspective Space is a social frame of memory: it (re)presents the past. In 2009-11 I visited 20 kiwiana collectors throughout New Zealand. Universidad Autónoma de Madrid (UAM). Natalia. cross-cultural relations Biagioli Monica. The series has heritage concerns at its core―both the tangible cultural landscape and the intangible dimensionof memory. and sound as voice. stereotype of perception. the symbols of francoist past have been mainly destroyed. I viewed their artefacts and heard their stories. is the period of steady growth of interest to Russian empire from the European tourists especially British. making it present through the direct contact with its remnants. generating 28 new artworks by 21 artists in 5 exhibitions. for instance grocery items (and their logo-bearing containers). sites that are considered symbols of the State violence perpetrated by two dictatorial regimes of the contemporary era: Chile. and have interacted with each other in many ways. reflecting a complex layering of moods and views through the filter of artistic responses. when import restrictions limited the availability of household goods. His design choice shows his personal subscription to the populist imagery that is utilised as apolitical definition of kiwi-ness. In short. tattoo. Keywords: Grand Tour. legacy. The places that we compare are two detention centers. While Maori have always practiced meaningful skin tattoo. Exhibition themes were sound as cartography. In its yearly iterations SP is like a memory track of how the Stratford site was building up towards 2012. kiwiana Belyakova. 1939-1975. abandoned or recycled. travelogs. University of the Arts London Becoming the Olympics: Sound Proof 2008-2012 The Sound Proof series of exhibitions (SP 2008-2012) emerged from an organic process to make artistic contributions in response to the Stratford site of the London 2012 Olympics. showing the existence of a culture of impunity.The exhibition programme evolved over time. intrinsically representations of white (pakeha) culture. Russia was included in Grand tour and became the main point of Northern tour. but have handled very differently their violent dictatorial past and its representations. In the Chilean case. sound as artefact. Observing these sites we question the relations between democracies and memories of State violence. In the case of Spain. The works are part of the public record and contribute to the Olympics' legacy of artistic representations―reflecting a wider spectrum of voices in the artistic record of London 2012. revised race laws. a 26 year old plumber. in the context of two transitions to democracy that have followed similar patterns. this is something new. Through its thematic funnel linking art practice. Local makers created products for the domestic market. Here we see a recasting of the kiwiana images of popular cultural memory. olympics Bianchini Maria Chiara. now drawn onto the body. sound as legacy. The story of these places and their material evolution show the ways societies handle their violent past. after it comes to an end as an historical event. Spain/ Università degli Studi di Roma Tre (Italy). tuition. London College of Communication. said ‘I love New Zealand. SP created a unique container to address the cultural legacy concerns attached to Olympics sites while placing the focus firmly on the site of London 2012― providing an artistic record from its unique vantage point of independent artist-led activity. The research of literary and documentary travelogue' narratives gives the opportunity to track metamorphoses of cultural memory of “tourists on Tour” and formation of the steady cultural сodes. material culture. The evolutions of these places show the construction of public discourse on dictatorial violence. london 2012.

12 Bijuković Maršić Mirta; Đukić Marina: Sveučilište Josipa Jurja Strossmayera u Osijeku

Medijski posredovana kulturna memorija - zaziru li suvremeni mediji od kulturoloških sadržaja?
Oslanjajući se na teoriju medijske agende te većinu studija koje su potvrdile da su učinci postavljanja agende jači putem novina nego putem televizije, rad će na temelju analize medijskog sadržaja hrvatskih regionalnih dnevnih novina Glasa Slavonije nastojati utvrditi kako su nastale i koje su to medijske agende koje su dovele do paradoksalno različitog načina praćenja kulture u dva različita vremenska razdoblja. Razdoblje 1990-ih kada je u sklopu Glasa Slavonije izlazio poseban podlistak za kulturu Kult koji će po zadanoj teoriji medijske agende i pretpostavkama autorica biti svojevrsni kulturološki odgovor na rat, odnosno imat će funkciju katalizatora dok se za suvremeni način praćenja kulture smatra da ujedinjuje prostor kulture i infotainmenta uz odsudstvo bilo kakve vrste estetske i kritičke analize kulturoloških medijskih sadržaja. Je li postavljanje agende vođeno samo „prodajom vijesti“ i „pakiranjem informacije“ ili značajniju ulogu ima kontekst? Poznato je da mediji igraju značajnu ulogu u vrijeme brzih i stalnih promjena u društvu. Zato ih i smatramo zrcalom društvenog stanja, generatorima promjena pa iz današnje perspektive možemo reći i nositeljima medijski posredovane kulturne memorije. Medijski sadržaji stvarani 1990-ih i kulturološki odgovori na zbilju kreativna su reakcija na prijetnju gubitka identiteta i mogućeg zaborava. Upravo su i ti novinski prilozi jedna od sastavnica kulturne memorije. Ključne riječi: Biskupović, Alen, The Academy of Arts, Croatia, Osijek

Drama Critic Franjo Bartola Babić in Osijek Newspaper Croatian Paper
Through analysis, synthesis and interpretation of newspaper articles available in Museum of Slavonija and Baranja in Osijek, author will present valuable cultural and theatrological testimony in form of drama criticism of Franjo Bartola Babić, in Osijek newspaper „Croatian Paper“ from 1934 till 1943. Keywords: „Croatian Paper“, Franjo Bartola Babić, Osijek theatre, drama theatre criticism, cultural memory Bodiştean, Florica, “Aurel Vlaicu” University, Arad, Romania

Destructuring of Heroism in the Twentieth-Century War Novel
The present study deals with the destructuring of the concept of heroism in the 20th-century war novel. Starting with Tolstoy’s works, the hero is no longer the central figure in war novels. War and Peace is a true epic of modern democracy in which masses replace individuality in making history. The 20th century will no longer glorify heroism, not because it is intangible or subject to chance, but because it is merely absurd, a type of absurdity derived from the absurdity of war. As a result, the view (the theme) of human solidarity arises from the imperative opposition to conquest wars and the danger of fascism. This is why war novels replace heroic novels. In the former, the constant perspective is that of the ego as a victim of abusing circumstances. Individuality no longer dominates the world, it is itself subject to difficult times and conscience remains its only support. To illustrate these ideas, the study analyses several novels that are illustrative of the characters’ individual attitude towards some of the great cataclysms of the 20th century: the two World Wars and the Spanish Civil War. These novels are Forest of the Hanged by Liviu Rebreanu, The Last Night of Love, The First Night of War by Camil Petrescu, A Farewell to Arms and For Whom the Bells Toll by Ernst Hemingway and A Time To Live and A Time to Die by Erich Maria Remarque. They are symptomatic of how the 20th-century man relates to reality – it is a specific relation in which the individual perspective dominates the community perspective, objective time has to compete with subjective time and the reality of the ego that becomes the main argument for being alive. In these novels, characters have to face dilemmas and regard war as a deliberate adventure which they measure against individual fulfilment through eros. Key words: heroic, erotic, war novel, the 20th century, conscience Bozic Marojevic Milica, Center for Museology and Heritology, Faculty of Philosophy, University of Belgrade

Sites of Conscience as Guardians of The Collective Memory
Wars, suffering, torture, hundreds of thousands of people that have been displaced or missing, poverty and the destruction of the monument. These are just some of the events that marked the end of the 20th on the Balkans and that are part of our shameful, not glorious past. Do we need to remember it at all, and how? What stories are 'permitted' and which are 'forbidden'? What is the adequate way to mark the suffering and how to do it without offending either side? What are the relations between memory and monuments, archives and museums? How can we understand the dual nature of monuments: as ideologically driven tools of memory (fixed memory) and / or as constant sources of creative construction and opening up of memory? Possible answers to these questions and also a solution is to create Sites of Conscience, or public memorials that make a specific commitment to democratic engagement through programs that stimulate dialogue on pressing social issues today and that provide opportunities for public involvement in those issues. Public memorials are physical representations or commemorative activities that concern events in the past and are located in public spaces. They are designed to evoke a specific reaction or set of reactions, including public acknowledgment of the event or people represented; personal reflection or mourning, pride, anger, or sadness about something that has happened, or learning or curiosity about periods in the past. The sole process of creating of public memorials is memorialisation. Since the Sites of Conscience may tell stories of mass atrocity or daily, individual struggles, they seek to serve as significant new tools for building lasting cultures of human rights and democracy. Using the past to engage people can and will help in making a difference in the present. Keywords:

13 Buckley, Alexis: Department of Geography, Rutgers University, New Brunswick, NJ, USA

Negotiating Cultural Memory through Representations of Cultural Trauma: Murals as Memoryworks in Northern Ireland
This paper attempts to articulate more fully the complexity and nuance of the formations and expressions of cultural memory related to centuries of conflict and cultural trauma in Northern Ireland by engaging critically and respectfully with visual representations of oppression, resistance, and territoriality as depicted in murals. The murals are politically charged, preceptive portrayals of cultural trauma that function as part of an intricate visual discourse on the Anglo/Irish conflict particularly as it informs and is shaped by the often competing cultural memories of those living in predominantly working-class communities in Belfast and Derry. Recognizing the murals as memoryworks creates spaces through which to explore the power/knowledge dynamics between the muralists, those who may commission them, the community, and the state. Through participatory action research designed to access a plurality of narratives – visual and textual – and using storytelling as methodology this paper tries to move beyond often rehearsed narratives about the traumatic past. An important premise is that within each community exists a diversity of cultural and political affiliations that is often lost in broader discourses surrounding Northern Irish politics, identity, and the peace process. Engaging with murals as memory-works that represent regimes of truth and shape ‘ways of seeing’ that influence the production of cultural memories is a means to access andarticulate the heterogeneity of space and plurality of trajectories. With that in mind, there is a focus on visuality or scopic regimes – the ways in which one comes to recognize, understand, and explain what is seen through socio-cultural constructions – that explore, in this case, the function and effect of the didactic and commemorative practice of mural painting on the ways in which people understand, engage, and disengage with spaces, each other, and the ‘other.’ Keywords: Cultural Trauma, Memory-works, Scopic Regimes, Participatory Action Research Bulatović, Dragan: Centre for Museology and Heritology, Faculty of Philosophy, Belgrade

Heritage vs fetish
This paper discusses the strategic importance of understanding, acceptance and preservation of heritage as material and spiritual values as well as its value of experience. We explain the potential of heritage as life-long practice of advancement based on difference that exists between the inheritance (that which is an excess) and the heritage (which is appropriated as a value for individual practice). Although analysis of our social practice of managing the heritage and the delight in its fruits as heritage reveals a complete inactivity, we maintain that the experience of inheriting as such is the only real general resource with which we will enter the era of knowledge. Key words: inheritance, heritage, strategy, fetish Bulc, Gregor: Independent researcher, London, UK

“Gej Sloveni” [‘Gay Slavs’]: Queering the Yugoslav Popular Music History
Yugoslav popular music artefacts produced from 1940s to 1991 have arguably not been subject to any in-depth research in terms of their LGBT-related meanings. Using Foucauldian archaeological method, this paper aims to identify Yugoslav popular music songs that express affirmative sentiment towards LGBT persons, as well as interrogate public reactions to them through a discursive analysis. It seems that most of these artefacts have been generally integrated within the cultural milieu of (post)Yugoslav societies, while their queer meanings/messages have at the same time been thoroughly suppressed in dominant discourses. This paper attempts to reveal “quite a different history of what men have said” about these artefacts. While aiming at identifying a number of pro-queer popular music songs from the socialist Yugoslavia, the paper strives, through analysis of semiotic registers, visual codes, metaphors, tropology and explicit statements, to offer a fresh alternative reading of particular important chapters of Yugoslav popular music history. In short, it suggests the ways in which the Yugoslav popular music history could be “queered.” The paper does not nevertheless try to provide the “true” meaning of the queer-themed Yugoslav popular music discourses but rather to point to alternative meanings/histories such discourses embody. This effort might result in an acknowledgment of emancipative potential of the songs in question for contemporary struggles for LGBT rights in the region of former Yugoslavia, as well as provide reasons why queering of Yugoslav popular music history has not happened yet. Amongst others, the paper will be dealing with artists like VIS Idoli, Zabranjeno Pušenje, Bijelo Dugme and Prljavo Kazalište. Keywords: Popular music, Yugoslavia, socialism, queer, cultural history Carnelli, Fabio, Il lavoro culturale – www.lavoroculturale.org, Siena, Italia

Rethink themselves with Saints among the ruins
The 2009 L'Aquila earthquake (6.3 Mw) hit a city of 70.000 inhabitants with more than 70 small localities. Although the state of emergency is officially over, today the old historical centers of allthese villages are still closed and people are still living in 19 New Towns and several villages of wood housing units, dislocated in a huge area. The policy of managing the emergency, doesn't include (at the moment) the return of displaced people to their homes and allows us to explore through anthropological tools the ways in which the relation between places and subjects is working through cultural memory. My paper is based on a 6 months field research in one of these villages (in 2011) and tries to understand the processes of performing memory of lost places through the post-seismic revival of a Saint feast. Its idea, organization, networks and places involved and its own performance offer a

14 special view on the creation of some tactics of subjects in facing the reconstruction of an imagined community after the disaster. The relation between time of trauma and displacement, and the need for a future and emplacement reveal how affect to places has to be made explicit through the activation of a dialectic between past and present. It is possible so, through these current practices of memory and emplacement, that call into question some specific symbols of the community boundary, to analyze the self-representation of the subjects of their community through the performance of the affection for their “physical and emotional structures of routines holding people in places”1, in the construction of a new collective history after the disaster. Keywords: disaster, displacement, memory, performance, affection, place, community Chikovani Nino; Kakitelashvili Ketevan, Institute of Cultural Studies, Ivane Javakhishvili Tbilisi State University

Fluctuating Memory: Rotating Images of the “Big Brother” and “Aggressor”
The paper deals with some peculiarities of formation of the post-Soviet memory in Georgia. The impact of changeable political reality on this process is discussed in particular. The study focuses on the transformation of image of the Russian Empire and the Soviet Russia in the post-Soviet collective memory. To this end, textual materials as well as other types of realms of memory are analyzed. The paper starts with the overview of the situation at the end of the 1980s. At that time, re-evaluation of the past came under the focus. The terms occupation and annexation were frequently used in the non-formal periodicals, at the demonstrations, claiming independence of the Georgian state, and in various literary texts for the description of the process of imposition of the Soviet rule in Georgia. Main part of the paper analyzes dynamics of the memory formation process determined by changing political elites and consequently changing political priorities. In this regard, paper examines different interpretations of the role of historical personalities and events; steps towards the memory formation: organization of museums and exhibitions, construction/deconstruction of monuments and memorials; activities of the State Commission for Studying Historical Truth; changes in a school history curriculum and textbooks. Rotating images of savours and aggressors, heroes and anti-heroes are highlighted. The study reveals that at least the three re-interpretations of the role of the Russian Empire and the Soviet Russia could be found in the collective memory of post-Soviet period. After the August War of 2008, the image of Russia as an aggressor seemed to be strongly fixed. However, the contours of this image are becoming blurred as a result of current changes of the political elite. The part of society, which is oriented towards the past, experiences a kind of nostalgia towards the image of the “Big Brother”, and is even enthusiastic for this change. Although, the post-Soviet generation bears the overlapping images of aggressive and conqueror Russian Empire and that of the Soviet Russia in its collective memory, supposedly, they could be hardly demolished. Keywords: Georgia, memory, politics, image, transformation Cihan Canpolat, Dokuz Eylul University, Istitute of Fine Arts, Musicology Department, Izmır/Turkey

Karbala Elegy in Anatolian Alevi Community in the Context of Cultural Memory
Prophet Hussein is one of the important figures in Islamic belief, and the Alevi community. He was the son of Prophet Ali, who was the cousin and son in-law of Islamic prophet Muhammad and was the fourth and final Rashidun (caliph). He is also a member of the ‘Ahl al-Bayt ‘(the household of Muhammad). In the year 680, Prophet Hussein was killed and beheaded by Yazid in the ‘Battle of Karbala’ . His dead has led to the rise of Alevi belief. Since then Anatolian Alevis commemorate the case of Karbala and Prophet Hussein in their rituals and wail for his dead. In the annual memorial for him, which is called Ashura or Muharram Month (the first month of Islamic Calendar, also his dead’s day) they remember him. These rituals strengthen their sense of community. In their rituals they frequently use music, which plays an important role in Alevi community and carries their social memory. Karbala Mersiye is a kind of elegy, used in the rituals of Alevi. Keywords: Anatolian Alevis, cultural memory, elegy, Prophet Hussein, case of Karbala Claudia Pato Carvalho; Duxbury Nancy, Center for Social Studies, University of Coimbra and O Teatrão, Coimbra, Portugal; Center for Social Studies, University of Coimbra, Portugal

Artistic intervention projects and cultural memory: experiences from Portugal’s centre region
This presentation discusses the project Mondego Map of Ruins, organized and implemented by O Teatrão, a theatre company in Coimbra. This initiative will develop and present three theatre performances in three abandoned spaces (‘ruins’), one in each of three cities in the Centre region of Portugal – Coimbra, Montemor-o-Velho and Figueira da Foz. These artistic presentations will be based on the collection of local memories, including local testimonies and other types of local materials from local, social and economic history. This initiative represents the prologue for the project Artéria 7: O centro em Movimento. This is a regional and international project that is developing both artistic and academic initiatives to work with a group of local agents (municipalities, universities, artistic agents and artistic schools) in order to develop an artistic, social and academic network among the cities of the Centre region of Portugal (Coimbra, Montemor-o-Velho, Aveiro, Leiria, Guarda, Castelo Branco and Belmonte). In each city, the network will help catalyze local projects of artistic intervention. The main goal of this project is to create a regional dynamic with concrete local social impacts, proposing a new paradigm of cultural relations in the region based on the cultural memories of local communities, their material and immaterial ruins and possibilities for future reinvention. Ultimately, the project aims to contribute to reflections on how to articulate and express individual and collective identities, which find themselves under the undeniable pressure of globalization, transition and consumer processes, and to propose new understandings of how communities may reinvent their own future identities. Keywords:

time and place of setting. Hawkesworth. but to keep the project of manageable size I wish. This list is likely. while steps number 4-6 will form the basis of my talk.and graduate-level teaching or in anthologies Assessing the historical insights of these works of Hungarian women's literature as a means of establishing themes. to the extent possible. The methodology for this first phase of the project involves these six steps.. I have already begun consulting large reference works such as those by Livezeanu and Ferris. narration Cukovic. to explore. At the same time. to be short. Bibliographies Čukić Sanja. identity. and Religious Studies at North Dakota State University. Ana: American University of Paris Yugonostalgia: Study of Remnants of the Former Yugoslavia in Metropolitan Detroit Yugoslavia violently disintegrated in the early 1990s. minimal focus has been dedicated to Yugonostalgia in Diaspora. Unearthing. Historiography. The Woman Warrior. Union University. narration gives her the power to change the course of events and undermine history in order to translate the culture of her parents to herself. and Cohen’s classifications of Diaspora enable . USA Hungarian Women and Their Literary Prose: Masculinity and History in Translated Fiction This paper is a report on the first phase of a research project I have undertaken at the intersection of the disciplines of history and literature. the translated prose as a source of information and perspective for writing and teaching women's history. Department of History. I do read Hungarian. if accepted for the conference in Skopje. Keywords: Women's history. and themes Locating texts that could be recommended for use in undergraduate. The theoretical framework and literature referred to in this paper underlines the reasoning behind the existence of Yugonostalgia as a phenomenon. Memory is the means by which Kingston bridges the gap between the past and the present. the focus of the paper is going to be put on the power of memory to connect two different cultures. I am exploring this material for several reasons: to discuss representations of masculinity in the prose in order to answer the question "Do the works endorse an orthodox script or regime or ideal of masculinity?". Kingston uses old myths. current events. Boym’s thorough discourse on nostalgia. thus creating a large victim Diaspora. but its myth survives an inexistent nation through the phenomenon of Yugonostalgia. Compiling a bibliography of relevant works published over the last 100-150 years: novels and short stories. The subject matter of this project is Hungarian women's literature (prose) in English translation. Margalit’s ethics of memory. The civil war produced a mass dispersion of Yugoslav population. marketing opportunities) Unearthing. At the same time. Categorizing the works by date of writing. Later. political considerations. and strengthen the bond between Kingston and her mother. Continuation of such culture beyond the nation’s times has been the subject of recent research. Searches of the online catalogues of select library collections around the globe will follow. to the extent possible. to try to shed light on the reasons for the numerically weak presence of translated women's writing in the male-dominated publishing industry. and Kabdebo. predominantly on the territories proper. they manage to reproduce and maintain the memory and cultural aspects of the former Yugoslavia. Keywords: Maxine Hong Kingston. unfortunately. as well as a number of specialized studies that might contain references to women writers in translation. Hungary. etc. chronologies. the factors that governed the publication of these translations (representations of masculinity. Primarily. but also to find out who she really is and accept herself both as an American and Chinese American woman. This paper seeks to reveal a response to a hypothesis that claims the existence of multigenerational practice of Yugonostalgia in the Detroit Diaspora community through theoretical and direct. Although Diaspora community members are far from their native land. Chinese and American. namely using Anderson’s imagined community and Halbwachs’ collective memory. Fargo. The act of remembering and reconstructing the events from the past helps the narrator not only to understand the lives of her parents and relatives in China. The purpose of the paper is to show the significance of memories in The Woman Warrior and explore the ways Kingston uses Chinese myths told by her mother to revitalize her ancestors’ past in order to shape her own personality and find the answers to her identity. however. fuller comparative work could be carried out with Hungarian literary historians. and patterns for the creation of a framework or narrative for a general study of Hungarian women's history. showing that she sees culture as heterogeneous. Novels in translation. immigration. Yugoslavian historical discourse and cultural policies enabled the socialization of its people. Philosophy. most especially.15 Cox John K. Additionally. memory. to work primarily with English-language sources. and. the factors that informed the reception of these translations (including but not limited to representations of masculinity. legends and stories from China told by her mother which she revises. Faculty of Business and Industrial Management Memory as means of identity formation in The Woman WarriorMemory as means of identity formation in The Woman Warrior Abstract: Memory play very important part in The Woman Warrior and its connection with narration and language is one of the main topics in the novel. Wilson. thus unifying them and forming an imagined community while producing a renewed collective memory. personal connections. creating new stories in English. it gives the narrator an opportunity to find out about her ancestors’ history and reconstruct it. in English (with French and German supplements). field work. literary trends. for now. using a combination of historical and bibliographic analysis. but no poetry. At the same time.

Institute of Social Sciences Ivo Pilar. ecocide. political. Cvikić Sandra. as guardians of cultural heritage. provide an overview of the 1991 Vukovar war developments and important circumstances which today influence to great extent the Vukovar divided community in the manner how they manage their emotions on symbolic level. culturecide and memoricide). in accordance with their personal interests. Megatrend University. However. Cvetkovski Tatjana. This paper will therefore. economic. as well as the photography of Ziyah Gafić. It is argued that Vukovar 1991 Battle traumatic memory wearing away process is a social issue and cannot be simply amputated by modernist narratives from accumulated traces of the past (demographic war losses. Multiethnic dynamic of the Yugoslav Detroit Diaspora enables an effective study of Yugonostalgia implying certain characteristics which best aid in prediction of its future. stands in direct contrast with the way in which postburial disturbances of mass graves by the Yugoslavian army implicitly framed landscape as wilderness—a political act of forgetting. forensic scientific literature. There are two extremes that are constantly in conflict: the question is do the cities and municipalities have to shape local cultural policies or cultural policies should be designed at the state level. Instead. promote only certain institutions and certain artistic styles (ideologies). it suggests that the post-burial disturbances of mass graves from the Srebrenica massacre constitute the particular historical context for a novel understanding of landscape called “forensic landscape” (Hanson. commemoration of bodies recovered and still missing from the conflict in Bosnia. This paranoiac landscape. Regional Centre Vukovar Vukovar 1991 Battle and Cultural Memory In the background of extensive scholarly production on nationalism and violence in former Yugoslavia. Serbia Museum Communications in Serbia: Between Cultural History and Ideology Museums. is fundamentally paranoiac. Živić Dražen. Keywords: Serbia. communications. Drawing on interviews with forensic scientists conducted by the author. in part. repressed. affective archives Cvetkovska Ocokoljic Violeta. as a substitute or alternative to the notion of “crime scene”—this paper examines how the historical appearance of the term compares and adds to the tradition of landscape as a medium for the documentation. However. it is obvious more than ever. Belgrade. in Serbia. 2004). Therefore. Also. or transformed in some way or another under the pressure of manipulative power politics and competing ideologies in contemporary Croatian society. constructivism. imagined geographies. critical theory. museums. Cultural tourism appears as a branch of the cultural industry that offers the possibility for institutions of culture to increase their individual income and direct their attention more to the audience and the effects of their work. mass grave . representation. like the crime scene. Trent University Representing Landscape: The Case of Srebrenica This paper considers the different notions of landscape that have been invoked to represent the dispersal of bodies and mass graves throughout Bosnia-Herzegovina. As Henry Bond remains in Lacan at the Scene (2009). cultural heritage. Landscape. medium and the site of contested cultural memories. postmodern futures.. The main problem is the lack of a national strategy of cultural development and long-term strategic plans in the field of culture. rationalization was reproduced based on various social theories (symbolic interactionism. Culture becomes a paradigm of all action: ideological. serves simultaneously as the product. that this social theory framework lacks pluralistic. efforts made in the last ten years in order to research the possibilities for development have not been able to find ultimate solution because there is no fully defined cultural policy of the state. functionalism and neo-functionalism. Decentralization is not implemented because the state is trying to keep a certain competences in culture. interpretative and openended perspectives with its point of reference in particular cultural representations and meanings of personal experience. discourse. and structuralism) which have gained substantial advantage over the last two decades. Keywords: performance studies. Srebrenica. Incorporating a discussion on the the landscape photography of Simon Norfolk. the media continue to represent the only channel that forms and transmits cultural and artistic values by which individuals. the author suggests that the forensic landscape. the author argues. absence. the question this paper asks is whether war crimes and atrocities committed in Vukovar 1991 have its meaningful place in the Croatian cultural memory and whether social research techniques into contemporary cultural memory in Croatia can afford to avoid testimonial narrations of the Vukovar 1991 war experiences since they are an integral part of their collective memory? Keywords: Cyr Rachel E. which create a human life. media and aesthetics. Žanić Mateo. collective. 1980s. forensic science. positivism and post-positivism. The field research reveals the answers concerning the survival of Yugonostalgia as a phenomenon and the survival of a memory of an inexistent nation for years to come. and landscape studies.16 an understanding of the Yugoslavian transnational community and their collective practice of Yugonostalgia. Keywords: landscape. those traumatic memories are constantly reconstructed. a corpse turns everything—at least for the duration of an investigation—into a potential evidential resource. in terms of daily cultural activities. therefore. Although “forensic landscape” carries a particular meaning for practicing forensic archaeologists—it is intended. are the most attractive potential for the development of cultural tourism. urbicide. negation and denial. body.

17 Czachór. One needs to bear in mind also that the state often assumed the role of warrant. son dissident. promises to unfold the ‘layers’ of the culture that served as a context for Life Studies. immanence. second son collaborator and catatonic daughter. The first. shaping of the national identity and transmitting the memory of the past. However. is based on a classical Czech drama (written by Milan Uhde) about the dilapidated house in which lives authoritarian father. lexsis. Museums are not only a source of knowledge by preserving and displaying historical and artistic representations but also a space where identities and memories are being negotiated and transmitted. The analysis will also dwell on the use of idioms. communism Davidovska Lidija. while actually having served the same purpose. is legitimised as being an important point of reference for the later developments (after 1989) of the museums which focus again on exhibiting communism. that is. Not a very common way is to present the past by studies on a family memory. events and concepts of American and European spiritual culture. University of East Anglia. Jewish mother. In the context of the poetics of immanence and experience. monuments. Case Study: How does one deal with the inheritance of the Communist Party Museum In Bucharest Most of the countries in Eastern Europe that engaged in the reflective process of coming to terms with the communist past it became very popular that new forms of representation and building narratives on the recent communist past. Therefore I will demonstrate that museums both during communism as in post---‑communist regimes claimed their role as important public institutions in education. of what deserves to be preserved. the lexis. The performance shows them talking about harms they have caused each other in the past. of the language user. music listened with her grandmother. memorials. Lowell‘s culturally coded poetic diction has been analyzed as another authentic and documented presentation of the ‘lived experience’ of the immanent narrator. postmemory. more traditional one which premiered in 2007. Bearing in mind Simina Badica’s affirmation that museums which exhibited communism have existed all over in eastern Europe before 1989. the worldview. letters. UK / University American College Skopje Robert Lowell’s Culturally Coded Lexis In this paper I want to address how a vital element of Lowell’s descriptive and narrative structures. but about which they cannot forget. Through grotesque and black humor theatre presents their attempt to find a solution and restore the family bonds torn by the ambiguities accumulated in the memory. My analysis focuses on the sociolinguistic patina that has accrued on certain units of the poetic lexis. two of the contemporary performances. start to emerge afresh. categorization of experience reflects the ideational position. by intentional and often subjective acts of inclusion and omission of knowledge. catch phrases and other verbal clichés which reflect the culture that generated them and function as verbal ‘ready-mades’ in addition to reinforcing Lowell’s well known anecdotal. The choice of these particular lexical items is significant to my analysis as they reflect the categorization of the world and experience performed by the poetic voice or “language user” in a broader linguistic context. This process of ‘verbal osmosis’ when words absorb meaning from different contexts. Keywords: . as well as brand names from the popular material culture of the first half of the twentieth century. culture. which engage in shaping and exposing historical memory and identity of nations. colloquial and informal poetic language. Consequently. and profoundly influenced museums policies. Institute for Advanced Studies. Czech theatre. I believe. they are examples of memory and postmemory. Sylwia: Adam Mickiewicz University in Poznań Theatre as a place to deal with a family memory (on the example of two contemporary Czech performances) The communist era is one of the most explored topics in Czech art and it is showed from different perspectives. This involves exploring both the denotations and connotations of his culturally encoded lexis. Lucca Management and Development of Cultural Heritage Museums as Spaces of Representation of National Collective Memory. identity. whereby I will focus on highlighting their role in the process of generating our sense of historical sense. ready-mades Demeter Laura. because they use completely different means to talk about the history and the memory and. Through an alternative project she is trying to create a picture of her family using different means of preserving the memory: old photographs. Keywords: family memory. what critic and linguist Winifred Nowottny describes in general terms as “give and take between those patterns”. share this perspective and show how social and political conditions created the identity of the family. At the same time. to try to understand the family choices and to build her own identity. the choice of the case study of the Romanian Communist Party Museum in Bucharest. such as: museums. remembered and treasured. recipes handed down from generation to generation… She is using new technologies to shorten the distance to her ancestors. the second performance (premiered in 2012) is created by the artist (Veronika Švábová) who was born at the end of communist era and it is based on her personal history. moreover. namely instrumentalising communism. Unlike the first. Keywords: Robert Lowell. I would like to analyze and compare them. in my approach I will look at museums as subject to a constant process of politicisation. The focus of my presentation will be on how does one currently deal with the legacies of the communist regimes in eastern European countries with the purpose to emphasize on the use of museums as spaces where various interdependencies are performed. her own body. such as the names of historical people. the external meanings of certain words and phrases before they ‘enter’ the poem and the internal meanings they acquire after entering the poem. is.

Considering that. and on the other tries to categorise the repeating typologies of the constructions and their embedding in the landscape. It refers to the archipelago which takes up about 71% of the nation's coastal line and plays a big role in the tourism industry. Among other things it also materialized in the cityscape of Buenos Aires. Goranci. collective memory. In a photographic series Daniele Ansidei captures on one hand the current status of the facilities. today Argentineans are constantly confronted with the past through papers. the outer Adriatic islands were handed the role of the first frontline. the break-up of Yugoslavia with its resulting wars. gender and so forth). Croatia’s membership in NATO rendered these seafront high-security facilities obsolete. operative. Keywords: Military architecture.e. trials. In other words. Question to which extent they contribute to continuity of Goranci community is also scrutinized. Consequently. they take special place in the memory of individual. Anne: Vrije Universteit Amsterdam Behind the Squares. and the entirety of Vis and Lastovo were closed to non-Yugoslavians for almost 40 years (until 1988). finally. ethno-linguistics and ethno-musicological literature shows that wedding ceremony and wedding reception represent special events in life of Goranci. Ansidei. aide memoires. Conversations with 'initiated island inhabitants' form the basis of Antonia Dika's body of work. The fall of the iron curtain. migration. Antonia. Streets and Corners: A research into the places of memory of Porteños In 1976 a military coup led by army general Jorge Videla took control of the Argentinean state apparatus. artist based in Berlin Pearls of the Adriatic "The land of 1000 Islands" was one of the tourist slogans which attracted more than 11. commemoration is both a sensitive and a powerful subject that polarizes as well as unites. remain for the most part empty. author plans to consider and explore to what extent and in what way this type of memory is used to organize present Goranci wedding ceremony and then what segment of the wedding is highlighted within those memories (costume. re-signifying the stage for an ‘eruption of memory’. what are the effects of these aide memoires or tokens in the public space and how do people act. author assumes that one’s memories of this events are more vivid and preserved compared to other memories. Due to the classification of military information and the following Yugoslavian civil war (in which the once united army split into enemy units fighting against each other). monuments. Streets. author assumes that these memories contribute to creation of the past in Goranci ethnic community at individual and at collective level and more so with regard to some other memories of this type. . Therefore. influence that it has on continuation of memories of wedding and their presentation in public discourse. Cold War. this type of individual memories is observed in a context of those phenomena and processes which characterize the present on a wider socioeconomic and political plan (globalization. Large areas of the islands were declared restricted military zones. In the work "Pearls of the Adriatic" the cartographic geotagging of the former military facilities confronts the actual description taken from the official tourism offices on the individual islands. forgetting. Gebietsbetreuung Stadterneuerung. tourism. are viewed in this paper as a part of wider cultural memory of Goranci. ritual. individual and collective level. form the only accessible information source. What happens with memory and commemoration when the public space is filled with memorials. the Yugoslav People’s Army (JNA) constructed various sites to defend against potential sea attack from its NATO enemy. His aim was to crush the guerilla movements and to restore social order. During the ’90s the search for the past revived. wars.e. streets and squares that remind people of the Dirty War? In other words. These different histories. Gora. memories. public space. After this period of horror came a decade that was dominated by políticas de olvido (politics of forgetting). and they were never therefore.) and what determines which segments are apostrophized within one’s memory (age influence. squares. At the same time. The army abandoned most of them during the Yugoslav wars of the 1990s. In this regard. i. technological shifts in the art of war and. and much of the Argentinean press and public gave their support. 5 millions visitors to Croatia in 2011. corners and building carry a multitude of reminders. television. question about their influence on preservation of ethnic identity of Goranci is being consider. religion. using narrative analysis. It’s less well known that not so long ago. life outside of the Gora. While the neighbouring islands and coastal region developed into internationally renowned holiday destinations. Djordjevic Crnobrnja. Buenos Aires. used for organization and realization of wedding ceremony. These sites. Daniele. etc. I aim to establish an image of this collective and individual memory shaped in the public space of Buenos Aires. discourses and the public space. collective memory. stories. many of them located in places of 'outstanding natural beauty'. ethnic identity. dance. This paper addresses the meaning of these places of memory in the public space of Buenos Aires. In this respect specific emphasis is placed on individual’s perception of his/her ethnic identity. memories and experiences of the public space conceptualize the Argentinian view on the past and shape the collective memory. Adriatic Islands Dirks. In the following years thousands of people from the (supposed) opposition disappeared. In a society where the resent history is filled with violence and terror. Keywords: wedding.18 Dika. which incorporates the theme since 2007. the island's inhabitants and the former military servants. influence of religion and so on). religion. Jadranka: The Ethnographic Institute of SASA Wedding in Gora – segment of cultural memory of Goranci Empiric material author has at her disposal as well as data specified within ethnological. theoretical analysis and the collection of first hand stories. Argentina. whose goal is to motivate potential tourists to visit in a more conscious way the island. individual memories. some of these popular tourist destinations were military strongholds. Keywords: commemoration. feel or think about these spaces of memory? By means of fieldwork. During the Cold War. i. giving further information as to the original function and new usage of these facilities. commemoration sites and buildings.

Atelje 212 (1960). St.-Petersburg State University Glorification of Russian Conspirators in Early Soviet Cinema: the Image of S.)? How “dissonant heritage” is memorized (i. transformations from royalist-capitalist to socialist system and then back to capitalist but republican system. as well as their counterpart (the Tsarist Secret Police). Belgrade drama theater (1950). I will rely above all on archival documents (collected in St. Zvezdara theater (1981). Having in mind complex historical context in which cultural institutions have been created and have developed over the years. Silent Soviet cinema Dragićević Šešić Milena. At the time. Second. what have been “subversive” or hidden strategies when official politics of memory was politics of oblivion? How institutions remember the dark sides of their history (accepted censorship and selfcensorship. “Aurel Vlaicu” University of Arad. afterwards. Nechaev I shall place my paper within the context of shaping a cultural memory of the revolutionary past in Russia. The paper deals with a less known Croatian literary text for children written by the author Zora Ruklić. Belgrade How theatres remember: culture of memory in institutionalized cultural system. Among these films. were exploited in a number of historical films since memories of this type were to be considered as throughly historical proofs of a never told story of fight against autocracy. I aim at shading light on how Shchjogolev adapted already exiting historical memories on Nechaev for shaping a new memory to be embodied into a cinematic narrative. Slavici offers a thorough description of these ethnic groups. one of the first Russian conspirators claiming for regicide in order to lead masses and raise them towards the Revolution. there are two particular works released in 1924:the fiction film Dvorets i krepost'(The Palace and the fortress. reordered Nechaev's documentation that he partially used for composing the screenplay of the Palace and the Fortress. the objective of the research is to identify types of strategies used for preserving the institutional memory in spite of public policies (sometimes explicitly policies of oblivion) and to investigate ways of transferring individual memories from privately kept memory to collective one. The research questions are: What are the organizational and programming strategies implemented in order to safeguard institutional identity and memory. that was specifically intended for telling history to the masses. Russian revolutionary history. Keywords: cultural memory. selfgoverning institutional past)? what is the role of leaders or managers in creating specific strategies and safeguarding memory. diary. Lumea prin care am trecut (The World I passed through).19 Dogo. Ivanovskij) and the documentary film Veterany russkoj revoljucij (Veterans of the Russian revolution) both produced by Sevzapkino. regardless of ethnicity: “When you meet a Romanian you greet him by saying Bună ziua.G. from New sensitivity (1984). Hungarians and Serbs from a young age (in Arad several ethnic minorities have lived together in harmony) and the education received from his parents.e. the author remembers his mother’s words that taught him love and respect for others.V. the most industrious State film-studio in Petrograd. The Palace and the fortress and Veterans of the Russian revolution build around Nechaev a new politically-oriented memory. In post-revolutionary Soviet Russia. and a forerunner of Bolsheviks for having been. Nechaev as an hero. influencing organizational cultures and shaping theater identity. thanks to the archival reform that was implemented. theatre Drăucean Adela. etc. starting from 1917. Josip Juraj Strossmayer University in Osijek Cultural Remembrance of a Girl The paper analyses cultural remembrance of the city of Zagreb at the beginning of the twentieth century. Dragica: Faculty of Humanities and Social Sciences. in the second half of the C19th. this past was becoming an object of study immediately after that important sources appeared. but a . Dunja: University of Siena. Keywords: Ruklić. that was to glorify the Russian revolutionary past. G. For this purpose. Due to direct interaction with Germans. Bitef theater (1989) and 5 independent theater organizations. First. A. throughout the1920s by the Soviet Central Archive under the Soviet Ministry for Education.-Pteresburg archives) and coeval press sources. how the leadership style is influencing the process? How leaders deal with challenge which represents a need of audience of keeping the institutional identity and their need for creating a new artistic and esthetic identity according to their own artistic credo and poetics? The research sample will be comprised of key Belgrade city theater institutions created in different historical moments: National theater (1871). since it takes into consideration an autobiographic form – a diary written in the period from 1911 to 1912. Challenge or an obstacle to new leaderships? The aim of research is to identify ways and modalities of preserving institutional memory in Belgrade theater system (within larger research investigating Organizational cultures and institutional memory: cultural system of the city of Belgrade). By molding a fictional character that had little in common with the historical one. the literate and historian P. I shall befocusing on the two above-mentioned films by paying attention to the treatment of the terrorist S. “Rex” and Center for Cultural Decontamination (1995) and “Kult” (2001). memory-building. Stefanović Milena. which is not “fiction” but “truth”. Romania Minority culture reflected in the works of Ioan Slavici In the works of Ioan Slavici we can find pages describing various ethnic groups cohabiting with Romanians. to Dah Theater (1990). Keywords: Dragun. in my paper. historical memory. In his memoirs. University of Arts. rejection of creative dissident personalities. Yugoslav drama theater (1947). cultural remembrance. Shchjogolev took part to this reform and.E. written memories produced by C19th Russian revolutionaries. and its aftermath till the early 1930s.

these camps argue about the dimensions of antiMuslim and anti-Semitic resentment and the debates could thus be seen as the subcultural answer to hegemonic migration discourses that construct a“Muslim threat”to Christian Western civilization. 000 is concentrated mainly in the southwest of Romania (Romanian Banat). Julia: sociologist based in Vienna Competing Victimizations or Multidirectional Memories? Some notes on the Politics of Collective Memory in post-Nazi and post-colonial Left-wing Spaces The proposed paper explores contentious entanglements of collective memory. indicating the manner in which they relate to their past and their memories nowadays. Slovak Academy of Sciences. Thus from collected interviews we will show how Serbs remember Yugoslavia during communism in Romania. the postsocialist and the globalised world. Eva: Institute of Literature. Prague Cultural Memory in the Context of Representations of Central Europe: The Case of Slovak Cinema after 1989 The proposed paper is looking forward to analyse the representations of cultural memory of/and Central Europe in contemporary Slovak cinema. We will analyze how personal stories are intertwined with historical events when they testify from their own perspective. Keywords: Multidirectional Memory. contacts with Yugoslavia in the communist period were very often. Yugoslavia was a source of material goods and cultural products for Romania. anti-Muslim Racism. Pojejena. anti-Semitism. Such a perspective would analyze racism and anti-Semitism as interdependent but different power relations. a theoretical starting point could be the critique voiced by women of colour and Black as well as Jewish feminists.20 Hungarian you greet Jo napot and you say Guten Tag to a German and it’s up to them. and similar. Such competitions are illustrated drawing on a special conflict within the Austrian radical Left. Memory and Identity The features shared by all widows are that they are women who have been married and whose husbands have died. cohabit Dudková Jana. It will also deal with possibilities of using terms designed in the context of postcolonial thinking about hybridity in order to reflect this truly (culturaly and historicaly) ambivalent. Institute for Balkan Studies SASA Memoirs of Yugoslavia in discourse of Serbs in Romania This article aims to explore the use of oral history in reconstructing the community’s collective identity and to show how transmitted memory plays important role in identity construction. multidirectional politics of location are discussed as tool to overcome competitive perspectives on collective memory and recognition. On the one hand. hybridity Đurić-Milovanović Aleksandra. pro-Israeli camp and an anti-racist pro-Palestinian one. Moldova Veche. Keywords: Edthofer. Europe. hybrid area that includes cinemas with a specific relation to transnational. Slovak cinema. Concluding. EU intergration processes. Germans. the „not enough European“. In this respect. Due to the specific history and the resulting discursive opportunity structures in the Austrian post-Nazi and post-colonial national context. Quarrels also include debates about the grade of victimization caused by the Holocaust and Colonial genocides and culminate in debates about the horribleness and „uniqueness”of colonialism or the Shoah. Folklore and Art. The contribution will pay a special attention to the case study of Slovak cinema before and after the entrance of Slovakia to EU. Competitions of Victimization. Bratislava / Charels University. the conflicting political standpoints reflect the multi-directionality of memory as well as its reverse and competitive elements condensed in “competitions of victimization“. directed against the exclusionary theory and practice of white German and Austrian women's movements and calling for a comprehensive reflection of political practice in the light of national (colonial and anti-Semitic) pasts as well as current power relations. Libcova. the border. the crossroad. Institute of Theatre and Film Research. The research covered five Serbian settlements in Romanian Banat (the Danube Gorge area): Radimna.most prominently in controversies about the Middle East conflict. Due to Romanian’s isolation and low economic standard of its citizens’ during communism. Serbs. cinematic representation. how they greet you back. I analyse such clashing memories as logical „competitions of victimization”in a post-Nazi and post-colonial society and propose a multidirectional perspective that discusses the legacies between colonial racism and anti-Semitism and allows for a synthesized approach to post-Holocaust and post-colonial memories. struggles about anti-Semitic frames within Austrian left-wing criticism are part of radical movement politics . Kolaković Aleksandra. Every woman has her own individual memories she wants to remember and forget but she is also a part of a broader socially and . In this context. You do your duty…”. In the wake of 9/11 and the upswing of anti-Muslim resentment. University of Latvia Representation of a Young Widow: Changing Narratives. controversies escalate and split parts of the Left in an antifascist. Keywords: culture. debates also include the Israeli state that is supported as outcome of the annihilation of the European Jewry by the ones and contested as racist colonial state by the others. Since the 1990ies. Since all these settlements are situated in the border area. The context of „the heart of Europe“ indicates a geopolitical region that lingers between multiple identities of the middle. memory politics and politics of location regarding the Holocaust and colonialism in Austrian inner-left debates. transregional and transcultural aspects of identity. This study aims to offer an insight into the culture of different ethnic groups based on Ioan Slavici’s works. Politics of Location Eglāja-Kristsone. Keywords: Central Europe. Hungarians. The study is based on qualitative field-research carried out among the Serbian communities whose population of 22. Divici.

which are by all means the necessary elements of any area. media. Her idea was to speak about modern women as a ‘black widow’. in the sources that are aimed at creating the image or replica of the area. Moreover. widowhood becomes a pervasive identity rather than a specific social role and the problem is that there are oversimplified stereotypes that can influence personal perceptions. gave enough matter to came to the conclusion that the book-trade was an important factor in the transmission of those impacts of early enlightenment which came from Poland across Ukraine to the Serbs living in Hungary and on the Balkans. the aim of this . before a year a young Latvian choreographer produced a jazz dance performance “Widows”. after the turn of the 18/19 cc. As shows my anthropological fieldwork among young (meaning ‘young’ in an age) widows in Latvia there should be discussed such topics as everyday practices. Dositej Obradović. according to Čolović. Moreover. but also people (or even communities. Harley. My paper discusses the representation of these sites of memory in city maps as the means of constructing new reality – when cemeteries disappear from them or change their habitual names. individual and collective memory. The role and importance of the contacts between the various Slavic peoples in the Habsburg Empire are not able to be studied in the shadows of the overvaluation was given to the impacts of Vienna. It was not taken into consideration the the Serbian Church suffered and was almost destroyed by the Greek Orthodox Clergy. Though the West European cultural influences also political ideas came through Vienna (e. urban cemeteries. reflects) the reality and at the same time makes it (J. it was of more political rhetoric than real activity. Third. First. Latvian society and culture Ermolin Denis S. The Russian Orthodox impacts on The Serb and interfering into the affairs on the Balkans became stronger later. Although it was being highlighted that Russia provided the Orthodox Serbs. Keywords: young widow. landscape Földvári. His investigations lead to new results in the history of the typographies and book-trade as the belles-lettres as well. exacting. So if we ask a question: does this performance tells about real life of modern young widows or is it more symbolic use of the image of widow the answer is not so clear as a widow might transform in a black widow as well. Consequently. the education and the administration. e.e. If we look back at 19th and 20th century we may assume that the representation of the widow is indicative of the changing society and perception of women from the gender perspective. cemeteries are one of the most evident and manifest categories of traces that show and witness more or less prolonged human presence in a particular place. this was one of the ways of transmission but not the only one. Baltic Studies Interactions between the Serbian Elite in the 18th Century Hungarian Kingdom and the West Ukrainian Cultural Centres It is a false commonplace the ideas of enlightenment and national awakening in the 18th century came to the Slavic peoples of the Habsburg Empire only as result of the impacts on the cultural life made by the thinkers.g. Jernej Kopitar).e.. cultural and social representation.g. therefore it became necessary to rethink the contacts between the Western territories of the recent Ukraine (i. educated. ethnic) buried there. theatre. sites of memory. support systems. as the attitudes towards these sites depend on current national agendas and ideas. not willing to share their lives with weak and faithless male. The latter replaced the Serbian language with the Greek in the service. Iaroslav Dmitrovich. trauma and personal narrative as well as widowhood as a part of collective and cultural memory being constructed through ancient social stereotypes and fiction.21 culturally constructed minority. religious. Peter the Great Museum of Anthropology and Ethnography (Kunstkamera) Russian Academy of Sciences Kosovo Urban Cemeteries in Maps: Forgetting. since the Church leaders represented The Christian toward the Ottoman Porta. being held in various Church libraries in Hungary. whose activities were inspired and provided by the royal court. cinema.B.. city maps. i.e. As Helena Znaniecka Lopata (1925-2003). A map as a means of getting information may be regarded as an almost perfect source for studying of the so-called constructed reality (P. E. there is such a great heterogeneity among widows that there is no way of predicting the lifestyle. the way of representation and even names of cemeteries may change drastically in different maps. Pickles. investigations made by the author of this paper on the old printed liturgical books of the Byzantine rite. This statement is only partly true but not wholly. Keywords: Kosovo. Berger & Th. Luckmann). too. Sándor. D. Wood). Remembering and Constructing New Reality In the focus of my paper I put the analysis of cemeteries and their representation in city maps of Pristina and Prizren published mostly in the 1990-2010s. too. Second. J. Thus. then parts of Polish Kingdom) and the Slavic peoples of the Hungarian Kingdom. Especially are of great importance the researches made by the Institute of Ukrainian Studies named Krypiakevich in Lviv in the last two decades. The main idea was to create a harsh story about young women in 21th century being strong. Russia provided those Serbs were oppressed by the Greek Phanariots i. artists and scientists in Vienna. I’ll turn my attention to the comparative analysis of the representation of cemeteries in city maps. Orthodox ones. member of the Academy of Sciences.e. self-rigorous. I use the concept of social memory in its connection with spatial dominants. we are forced to forget their previous names or even the fact of their existence. and identity of any one woman. constructed stereotype. who had been the primary voice of widows and the leading researcher on the topic of widowhood throughout the world emphasized. Mita Kostić has already paid attention to the book trade but this very significant work of him remained forgotten in spite of the very respect was given to the findings of this great Serbian historian. even their brothers on the Balkans. a memory site is an example and a part of the so-called sacred space of the nation (compare to Smith’s ethnoscape). mainly the findings of later chair Isaievich. and in results of more political than religious causes. i. on the contrary – the appearance of “new” cemeteries in the maps makes us remember not only their presence. memory. the spider whose female eats male after coition. Hereby I regard a map as the object that both depicts (represents. Debrecen Univ. independent.g. Beyond that.

memorialisation. Mijic Ivana. I trace some of the ways in which the archiving of ‘Katyń’ memories took place in Poland via commemoration and rituals of remembrance. Balkans Franc Renata. Results showed that surveyed Croatian youth. Alessandria. Liu et al. which can be dated in the 1980s.php) about perceived importance of recent historical events for national history among Croatian youth. Italy Social Memory. 000 Polish citizens by Stalin’s NKVD in 1940. Political. 2009. Keywords: identity discourse. the emergence of ethnic politics to the Cultural Turn and the definition of the Lieux de la mémoire). narrative.. is not motivated by an attempt to uncover ‘lost’ or ‘authentic’ memories. and in particular. Economic and Social Sciences. In order to maintain the dominant Russian narrative of Katyń in post-war Poland (which claimed that the Germans were responsible for the killings).eu/index. national history. narratives on the Katyń massacre. which are ultimately incompatible. censorship authorities suppressed all references to ‘Katyń’. I contend. It argues that the progressive disappearance of generations shaped by World War II (and even of generations shaped by the first post-war decade in Europe) has determined a radical change of social consciousness in Europe. then. book_trade. contemporary history. historiography. memory discourse. Macquarie University. There is a tendency in such studies to view memory as more ‘authentic’ than history in that the use of censorship is perceived as a manipulation of ‘truth’.fp7-myplace. Department of Law.11. My interest in Polish Katyń narratives. but is another element of narrative. recent establishment of independence and sovereignty). Croatian context (former Communist country. The fourth and final part will argue (on the basis of the preceding considerations) that the basic terms of discourses of cultural memory and identities need to be re-evaluated and redefined from the perspective of a social history of the present. Hungarian_Kingdom. (b) existence of recency effect (c) salience of Eurocentrism. . (http://www. I propose that while censorship can be seen to work against cultural memories. that like history. I suggest that an overly simplistic focus on censorship can often emphasise what was prohibited. The second part will address the relationship which exists between History as Memory and History as a Scholarly Discipline. youth.e. The paper will present preliminary findings at a national level (collected in the frame of large European project – MY PLACE. Habsburg_Empire. social history Fredericks Vanessa. ‘Katyń’ is now constituted as a symbol of totalitarian oppression. Fall of the Berlin Wall and the end of socialist regimes. Cold War. and to give some new insides into the church and national relations on the Balkans. Homeland War (1991-1995) followed by Signature of The Treaty of Accession 2011 and Independent State of Croatia (19941-43 during the WWII). Rather. Survey data were collected from a random sample of young people aged between 16 and 25 (on two areas of the city of Zagreb. Communism. 2005). Foucault. Ivo Pilar Institute of Social Sciences Perceived importance of recent historical events for national history among Croatian youth Previous studies using open ended methodology resulted with formulation of three general characteristics of social representations of world history: (a) salience of politics and war. The NY terrorist attacks on September 11th 2001. 2011). Keywords: Katyń. Australia (Re)membering ‘Katyń’: Memory and Memorialisation as Elements of Narrative The study of ‘memory’ in post-totalitarian societies is often seen as a battle between state-sponsored representations of the past and the (re)production of local. The first part will discuss selectively some of the factors which have favoured the growing salience of identities and memory in scholarly discourse and in public debate (starting from social science paradigms originating in the USA in the 1950s. Fascism. MyPlace project Franzinetti Guido. Censorship is integral to the narration of post-WWII Polish history. The aim of this paper is to examine the robustness of these general characteristics by using closed-ended survey methodology. as well as. ‘Katyń’ refers to the execution of approximately 22. Croatian Homeland war (1991-1995) and Independent State of Croatia (1941-43 during the WWII). and that their apparent merger is a relatively recent phenomenon. funded by the EC FP7. In this paper. censorship. taking into account differences between this and previous studies. Participants assessed the perceived importance of the 11 recent historical events: WWI. Results are interpreted within a framework of general characteristics of the representation of world history. paradigms and periodization. The third part will address the conceptual problems in defining the new boundaries of neuere Geschichte. Identities and the History of the Present This paper intends to address the relationship between the construction of social memory and identities. the nature of ‘power’ means that there will always be resistance to dominant memories. cultural memories. While it is crucial that we acknowledge that state censorship did occur and that it had real material effects. It argues that these are quite distinct forms of historical discourse. 09. while ignoring the multiple forms of resistance which took place. survey. This close-ended data will be complemented by data from semi-structured interviews with subsample of surveys participants (N=60) about most interesting and/or important parts of Croatian past. and three national events: Signature of the Accession Treaty of Croatia (Brussels. Critical and Cultural Studies Department. cultural memory is no more or less ‘authentic’ than ‘history’. University of Eastern Piedmont. WWII. N=1200).22 paper is to demonstrate the contacts between the Serbs and Ukrainian territories. ritual. the History of the Present). however. Ukrainians. Keywords: Serbs. memory is a site of discursive struggle – that is. Medugorac Vanja. and the new contours of neuere Geschichte (i. which has not yet been matched by a corresponding shift in historical narratives. It argues that the discourses of identities and of memory had quite distinct origins. as relatively most important events for country history perceive national and most recent events. memory. Keywords: social representations of history. on the one hand. Drawing on a Foucauldian model of power as productive. as it has been evidenced by the book-trade between these peoples and areas. followed by nationlevel ethnocentrism (Liu et al. I view these accounts of memory as sites of discursive struggle which are reflective of particular subjective investments and situated knowledges.

immigrant writers have become carriers of the process of definition of these cultures.history itself. Dubrovnik. which had resulted in the audience's repulsion towards it. as well as the ''regime'' detection and ''new upbringing'' of the masses in relation to the sought political. However. racial and gender differences. an icon of the Croatian nationalism soundtrack and the landmark of the (in)excusable within the public discourse. the two film projects and audiences are analyzed from perspectives of semiosis (meaning-making) in relation to the films as redefining genres and what sorts of meanings different audiences create about the films. The (quasi). Croatia Female Migrant Writers: Between Here and There Migration has become a global phenomenon that is continually affecting various aspects of the contemporary society. music scene and pop culture as the creation of the ''new Croatian cultural memory'' The event of Croatia gaining autonomy at the beginning of the 90s had started a partially systematic. intriguingly enough. Keywords: biographical memory. cultural. (in)excusable. and wars. The purpose of this paper is to define key aspects of the narratives of these female writers. The concept of multiculturalism is an evident consequence of these processes. The position of female migrant writers is of utmost importance in this process. Roskilde University Mediated Cultural Memories: Film Narratives of Mass Violence in Indonesia and Kosovo Acts of mass violence. but it is already clear that this phenomenon is not only of literal nature and that it is closely connected with the ongoing changes in society itself. as myths or sagas. i. director Joshua Oppenheimer) about 1960’s Indonesia. there are transformations of meanings across time. director Knutte Wester) about 1990’s Kosovo.outbursts of a pop. contrasts between cultures of departure and cultures of destination. multicultural society Frølunde Lisbeth. Bjerregaard Mette. While multicultural societies define individuals as carriers of their respective cultures. the politics of cultural memory. The role of this literature still needs to be defined in the future. a notorious partner of the Nazi Germany. that did not correspond with reality. film Gajin Igor: The Academy of Art in Osijek The (ir)racional in the locomotion of filmography. had decided on the propaganda as the means for sharing the ''national truths''. migration. The films also convey personal relationships between the persons who recall violence and the filmmaker-storytellers. The two films. the writing of female immigrant writers offers another view of reality of an individual in the globalized world. media. on the other hand. Keywords: ideological strategies. or remediated in contemporary documentary or fiction films.23 Friganović Sain. or by the usage of only one language. How has that phenomenon been reflected in the theater stages and on cinema screens? The hero of ''contemporary history of Croatian theater'' was . which is not limited only by one national territory. Both films are told as "a film within a film" and experiment with “documentary” as genre.star have. and partially spontaneous replacement of the contemptible socialist myths with the Croatian national myths. it reflects the most important changes that an individual undergoes in his search of identity. e. at the same time served the purpose of mediation and the liberating manifestation of a supressed. It provoked the audience's ridicule because of its idealized imagery of the ''imaginary Croatia'' and the ''imaginary Croats''. still an universal feminine insight transcends and emerges. propaganda. cultural fronts . The major changes happen in the concept of culture. The filmography. including murder on civilians. in very different ways. immigration. focus on persons who tell about their involvement in acts of mass violence. towards the Independent State of Croatia. This paper explores two examples of narratives representing memories of acts of mass violence: Gzim Rewind (Sweden. female migrant writers. theater. Acts of mass violence also construct a sort of looking glass of culturally dominant memories that are mediated through stories: retold as oral stories through generations. Their work shows that there shouldn’t be any civilization or culture that is superior to other cultures or civilizations. The repulsion was due to the fact that it was evidently a propaganda. In these processes of retelling acts of violence. thus proving that the lifestyle and culture born from the suddenly unwanted myths are not so easily eradicated. unwanted and forbidden ''cultural memory''. On the music scene reconcilliation ''front'' there had been even more interesting and uncontrollable phenomena. immigrants. and it has provoked the creation of a new type of literature: migration literature. making their voice almost painfully real and loud in a today’s society which still sees differences as a potential threat. Keywords: migrant literature. historical and civilization standards formed according to the criteria of the European Union. can be seen as seeds for memories of the involved persons and following generations. Another focal point of this work lies on the controversial Thompson. nationalism. such plays starring history as the hero resulted in pap. 2012. genocide. historical narratives. social constructionism. This work focuses on the hitmaker Tonči Huljić who managed to ''repack'' the ''Eastern tunes'' that the Croats were missing. social and political contexts – which influence audience reception. identity. Moreover. propaganda. American College of Management and Technology. 2011. Zrinka. In this paper. popular media culture. dialogic theory. He gained his status due to having used his public appearances and hits in order to outlet and kindle (il)legitimate feelings towards the ''dark side'' of the Croatian state-constituing history. where beside and despite the expected tensions over identity and language. rather than an asset. based in Scandinavia. decolonization. Even though contemporary literary critics still need to define the place and the role of this type of literature in the world literature. and The Act of Killing (Denmark.

a vehicle for cultural memory and cultural creativity. and cultural memory This paper addresses the question of how folk art can be. dernek. and as Said says. fiction. England. Angelillo. For instance. Istanbul. Buenos Aires. From decades ago. albeit in different forms. obviously. that of cultural memory studies. as well as ‘nostalgia’ will be analyzed in Going Home. Established in 2009 in Alpu. dernek appears to be an organization that encompasses the vast majority of the Pomak population in Turkey. this proposal summarizes the contribution of some of these artists and the fusion between theatre and typical Andalusian music as flamenco to preserve and evoke the collective memory of such a faraway motherland. ballads. Keywords: Spanish migrations. In the future priorities of the dernek. it order to unpack the role of tradition and creativity in the life of a rural community. The concepts of ‘home’. The founders of this Non-Governmental Organization. Africa. to remember the songs of grandmothers and grandfathers and to be recognized by the legislative authorities. ‘memory’ and ‘re-memory’. exerted a key role in order to keep and reinforce the identity of Spanish migrants in Argentina during the first part of the 20th century. where Doris Lessing uses another aspect that is part of cultural memory studies. folklore. political repression or. At the same time. they created a parallel Spanish stardom abroad. that is. The study will also focus on the novel Alfred and Emily. Trace and Biga derneks under one federation entitled as PODEF. and not only. Eskişehir Province. but uncertainty about whether the past is really past. simultaneously. Tradition in this sense is not by any . Gençkal. nostalgia. Since Andalusia (the Southern region of Spain) and its culture acted as a metonymic resource to represent Spain during that period. On the way of gathering into a federation Pomaks created a solid ground to preserve and to expose their culture. simply. identity. fact. several artists arrived to this city escaping the war. language Georgescu Elena Anca. Even more. migrants from different regions could recognize a common notion of the Spanish identity in them. But the constitution of Turkey. with pre-Christian roots. In this sense. achieved overwhelming successes in Buenos Aires’ theatres. fictionalized and. home. Keywords: Pomak. remembered. and amended in 1995 does not deal with the term Pomak. idealized. Lessing has used her own personal memories to create fiction that fits into a bigger frame. that country had received thousands of migrants from Spain. scientific research on narratives will lighten up the way on which dernek members are believed to take into account. Valahia University of Targoviste Sites of Personal and Cultural Memories in Doris Lessing’s Writings of Africa This paper aims to map sites of personal and cultural memories and the way they are interwoven in some of Doris Lessing’s writings of Africa from the perspective of Cultural Memory Studies. war Glaveanu Vlad. creativity. one of the accounts of the author’s return to Africa. Emilio J: University of Seville Staged memories: Spanish drama. religion and a growing market. or whether it continues. and tails were gathered during the fieldwork research done in villages of Çan. At the core of this practice stands the depiction of patterned ornaments known as motifs. Pomak Culture Dernek (Association) became one of the most important institutional establishments that began to function as cultural dernek in Turkey trying to gather Izmir. Egg decoration is an old custom. Berkant: Anadolu University The present actualities and future priorities of Pomak Culture Dernek in Turkey The recent debates on the Pomak “issue” that are concerned with the authoritarian propaganda and diaspora place the past into deep murky waters. practiced extensively in the historical region of Bucovina. These narrative products such as songs. Andalusia. language seems to have vital importance creating identity which will be born out from many narrative products. to come together. looking for new work opportunities. The analysis demonstrates that in the novels under scrutiny. and by the period following the Spanish Civil War (1936-1939) a notable colony of them was settled in Buenos Aires. flamenco music. and relying on a complex system of material artefacts and symbolic elements acquired and enacted by artisans usually from an early age. identity.24 Gallardo-Saborido. ‘home’ could be staged. It takes the case of Romanian Easter egg decoration as a practice situated at the intersection between art. In fine. over and concluded. theatre and memory. particularly drama and music. which was adopted in 1982 after military coup. Keywords: Memory. interpreting the present. epics. The main argument here is that Lessing blends factual and fictional writing in her most recent half fiction. collective memory. As a scholar. Andalusian identity and flamenco music in Argentina (1930s1950s) Culture. half memoir to construct alternative personal and cultural ‘hi(-stories)’. These ornaments are constitutive of identity and memory and their decorative features facilitate and encourage the creative expression of folk artists. or Niño de Utrera. Mehmet Demir and Nazan Nazire Öztürk clearly state on the notion of the dernek. in order to demonstrate that cultural memory and memory in general are indicative of the shaping of Lessing as a writer with multiple identities. Biga provinces and Alpu between 2011 and 2012. famous singers and actors as Miguel de Molina. This viewpoint – that a human individual is always intertwined with other individuals and further with history – is an undercurrent that permeates Lessing’s writings. poems. Hence. that it is not only about the disagreement about what happened in the past and what the past was. Aalborg University Folklore. which is the creation of an alternative history and story of her parents and post-war England.

‘re-membering’ this incongruous event. As it is tended to be shown. The tradition of egg decoration in Romania is a living and evolving social practice that engages the self and community in a creative exercise of building a cultural identity and (re)constructing the connection to a shared past.and post-mortem survived life if he or she has heard it ‘second-hand’? And. Illustrations are offered here of the ways in which cultural memory has a productive function in relation to the life of individuals and collectives and. ourselves. heritage Golańska. the need of forgetting as constituent part of memory will also be stressed. one always puts elected images of the past in the exact order and creates its own identity. as well as creative uses. Therefore. Centre for Museology and Heritology. In my attempt to read the current discourse which contemporary Macedonian society seems to have accepted if/when addressing The Shoah. meaning material objects. and those just developed during centuries. This invites us to discover new theoretical and practical devices that are sensitive to both stability and change within cultural systems. memory. Holocaust historian Berel Lang informs us that no adequate decision has yet been reached regarding the issue of ‘linguistic inscription’ for the people who were incarcerated through the Nazi concentration camp system. people. which is reflected in the tendency of memory sites’ adopting a format that encourages multiple. how do we then comment on these historically and spatially detached (re)presentations of survivors’ testimonies? Do we read the artfully recollected accounts verbatim. memory studies. CCCS When Theory Fails: Between Language and Memorialization. the difference between terms memory and remembrance. during the antique age. More than half a century after the reality of the Nazi genocide. the idea of individual identity. survivors are compelled to seek the help of recollected patches of self-memory. never before witnessed by the diligent eyes of human history. How do we talk about testimonial narratives. if we. like Tadeusz Borowski’s photo-texts or Primo Levi’s non-fictional prose. Accordingly. namely. University of Belgrade. and toursim studies. the remembrance is always “pictorial”. Long ago. Inspired by the wholes one leaves in its personal life story when presenting it to others. their relation to the culture and reasons why one remembers something will be discussed. Thus. have not lived through the experiences they recollect? Furthermore. pictorial memory. In the first part of the paper. I propose that we examine the following set of challenging questions in regards to the (re)presentation of the Nazi genocide. Yet. as an experience. creation of it and the representation of the self identity to the others will be examined and explained in the context of the pictorial memory and heritage on the one hand.virtual space. Dorota: University of Lodz. or do we treat them as we would treat other works of novelistic fiction loosely based on auto/biographical material? But again. and social determination on the other. or even contradictory. suggests that the events surrounding the Jewish genocide are somehow out-of-the-ordinary. image. when ‘talking about’. in the second part of this study. basic concepts of the self representation did not change. Keywords: Gligorova. electing and presenting images from the past in the creation of the image of ourselves. meaning-making practices. or (How) do contemporary Macedonians talk about the Jewish genocide? The language of the Holocaust has been based on absences rather than a presence. artists.25 means the opposite of creativity but the actual vehicle of creative activity and its understanding as a stable cultural system ‘engraved’ in collective memory needs to be challenged. the last part of this study points out that we still use the same concepts of remembering. techniques of the remembrance by using pictorial memory had been created. thus proving to be out of language’s reach. where the historical self undergoes a painfully unavoidable self-invention. The goal of this paper is to stress that. Keywords: individual identity. but just used different media through time. trauma. the inaptitude of our post-Holocaust language. it cannot be conveyed in representational terms in a form of predetermined narratives and discourses. to address the (plain) facts of Holocaust life. how does a contemporary Macedonian artist (re)present the painful reality of Holocaust pre. Faculty of Philosophy. remains beyond representation. and almost terminated as a result of its devastating tactics. Serbia Cultural Memory and Identity: Pictorial Memory – Manners of the Individual Identity Construction The title of this study directly refers to the importance of the images. Finally. The issue of unrepresentability of traumatic experiences made it necessary to transform processes of remembrance into participatory practices. creativity is part and parcel of this phenomenon. at the same time. where absence and presence take turns. ‘writing of’. what do we mean when we call someone or something ‘truthful’. Faculty of International and Political Studies The Aesthetics of Trauma: Dark Toursim and Its Pleasures In my research I critically focus on the Holocaust memorials from the perspective of art studies. how are our memories shaped. assuming that they ‘stand in’ for the missing links of Nazi era history. what do we ‘leave out’ and what do we ‘put in’ as a result of our exposure to the media’s coverage of historical events? Keywords: Gnjatović Milena. offer a way to begin to understand the post-Holocaust life while beginning to comprehend the fragmented semblance of the survivors’ narratives. these liminal clusters of present-day past re-memberances. using the most popular media today . remembrance. personal memories or literal images – photographs one elects from the past in order to build up the individual identity and present it to others. Bela. It is not .

marginalization and separation have often been referred to when describing the health of indigenous people. This theoretical perspective I am going to explore in my presentation. modern identity. which are mostly commercially oriented. introduced as a tool for measuring coping abilities. A fairly reliable indicator of health is also the concept of sense of coherence (SOC). The aim of this study is to seek a better understanding of the unresolved relation between the experience of integration. cultural memory and SOC. material culture. In the city scope different individual and group tastes. emerged in the last decades of the 20th Century coinciding with of other extended uses of history and memory known as the “memory boom” (Jay Winter) and a turn from the modernist “present futures” to “present pasts” (Andreas Huyssen). assimilation. of which integration has been considered to provide the better conditions for good health. habits and beliefs. It is thus crucial to disengage the Holocaust remembrance sites from negative associations. these sites are often considered „dark tourism” attractions. understood in both bodily and mental terms. yet it is possible to activate it in an affective manner. memorials. at the same time. norms. suggesting that sense of coherence is positively associated with the degree of integration. partly as an ironic response to the conservative nostalgia of the Reagan administration. Actually food and eating practices are full of culture and social meanings that are not only related to individual behaviours and attitudes but also to collective (by social and ethnic groups) activities. integration. aesthetic experience. Keywords: retro. especially aware of its local context and the vernacular history. The famous gastronome shaped this idea concerning individuals but it seems its widening for social groups and.26 possible to grasp and express the traumatic experience in language. The concepts of “aesthetic experience” and “pure perception” adopted within my research project no longer rely on the dualistic opposition between sensation and thought. Today retro is getting generally accessible and widely distributed as a mainstream trend and interferes with the established culture (for example in retro-inspired culture festivals and popular museum exhibitions dedicated to 1950s popular culture) but is still developing specific new forms and is an important element of the subcultural landscape. Denmark Montreal Modern: Retro as Cultural Memory The paper presents the current retro culture as a process of cultural memory where the past is used to create a modern identity. also by making use of interactive formats. perception Handberg. integration and identity in a health context The Sami are the indigenous of Northern Scandinavia and one out of five acknowledged national minorities in Sweden. In its early phase retro was related to recognition of the modern American culture of roadside architecture. ackulturation Hebda. The study is expected to generate a foundation of conclusive arguments from which a discussion of the role and power of self-perceived identity in relation to the perception of integration and cultural memory could be based. text based question on the experience of integration is also included in the questionnaire and will constitute the point of departure for the qualitative part of the analysis. the historical and the entertaining. Departments of Arts and Cultural Studies. This discussion will be presented at the conference on Cultural Memory in September Keywords: Sami. it is also of primary significance to understand contemporary tourist patterns and different kinds of “pleasures” associated therewith. The knowledge within the field—I believe—can be substantially broadened if we pay more attention to the concept of perception. Through the case of Montreal. Criticisms of these processes mostly referred to the fact that it aims at turning the Holocaust memorials into tourist attractions. using the overlooked elements of the common past to create a contemporary stance. popular culture. further. Retro. A tendency is a retro of accents. cities and regions can be justified. Although the analysis and subsequent categorization of „dark tourists’” experiences (including both traumatic and pleasurable ones) is still undeveloped. dark tourism. Kristian: University of Copenhagen. the dedicated stylistic revival of the recent past. preferences and practices . The study will be based on a quantitative questionnaire on self-perceived integration and identity. self-perceived identity. yet. the idea of turning the sites of Holocaust remembrance into more interactive spaces has long been considered controversial. By triangulation analysis the study is expected to elucidate a possible mediating role of SOC between the identification with the Sami society and aspects of self-perceived integration which in turn will hint the positioning of cultural memory towards these concepts. Anna: University of Social Sciences and Humanities. identity. Warsaw. Poland Eating out as creating cultural memories Anathelme Brillant-Savarin claimed that people may be uncovered and known through the way they eat (Tell me what you eat and I will tell you what kind of person you are). The process of acculturation and the associated concepts of integration. An open. Therefore. Keywords: affect. SOC and value systems distributed among Sami eligible to vote in the Sami parliament. Interestingly. mediated memory Hassler. Acculturation and thus integration also suggest different degrees of modifications of cultural memory which then give rise to the question of how health and SOC relates to cultural memory. I will analyze the role of retro as a cultural memory and suggest that retro can be a productive counter memory aware of the exchange between the local and global and of the specificity of modern culture. 'sense of coherence' (SOC). Quebec. the such classification of the Holocaust sites bears explicitly pejorative connotation. pop music and commodities mixing the aesthetic. Sven: University West Coherent with what? A critical analysis of the relation between sense of coherence. Canada.

so that the environment. Viðar: Independent scholar Cultural amnesia – and sustainable development. Keywords: Hreinsson. During the conference I would like to share the research results and analysis. It is true that in the late 19th century Polish nationalism was divided. she favors Dmitri as bearer of noble idea. as the perception of these two countries is part of their identity. Indeed. Sustainable development is a recent rational concept. In Poland the practice of eating out does not have long tradition and was strongly reduced during communism times. Dmitri actually believed in possibility of ending the Time of troubles and opening Russia new horizons by liberating the Constantinople. Politics. Identity. it may be pointed at popularity of places specialized in foreign cuisine (mostly Italian. author is opening alected religionist point of view. Warsaw is a city almost totally reconstructed after the 2nd world war and you can experience the history every step you take. Eating places like restaurants and bars appear to reflect this two ways of thinking about this city – on the one hand. Institute of Theatre and Film Studies Union of Florence and its reflection in dramatic representations of tsar Dmitri In her study. Sustainable development is a necessary and progressive idea. Cultural memory is an extremely varied field of the relations between the effects of the past and present activities that range from the most creative work to objectified commodities as well as ideological manipulation (such as the heritage industry and blatant nationalism). everyday life. but tragically compromised by the revelation of his false personal identity. Arguing that the tragic conflict might have resulted from the misunderstanding of the Poles engaged in Brest-Litovsk Union (under Roman jurisdiction. learned and experienced from different sources. She argues against the simplification of the problem to dichotomy Latin – Byzantine (transposed to national terms as Polish – Russian) while such a reduction after the Council of Florence (1439) is almost absurd on the Slavic territory. Emmanuelle: College of Europe. describe and represent the culture (city and its history. This can be seen in the politics towards Russia. moulded on the premises of current western rationalism and the scientific revolution. Having introduced a subtle distinction between universal (Florentine) and local (BrestLitovsk) Unions. The modern. since 1989 and particularly the 2000’s. it has suppresed and forgotten the sense of belonging to nature. In my paper I would like to present. cognitive dimension and the context could be taken into account. Arabian. culture has played a big role in Polish politics. when Poland was partitioned and dominated by its neighbouring empires. What is more.. Germany or foreign policy in general. developed as a response to the environmental threats of modern society. Consequently. Brugge. Polityka or Wprost. tradition and cultural memories through eating out practices. head of the main opposition party in Poland and twin brother of the late President Lech Kaczynski). Poland is characterized by a deep political conflict on memory and how to deal with it in the present. Keywords: Memory. modern and multicultural. Chinese/Vietnamese). Culture. An interesting question would be to ask how and why are Polish politicians and citizens divided today on the issue of dealing with their past and memory regarding Germany and more particularly Russia. In the same time it is the European capital – fast. His assassination witnesses for the limits of the role of an individual in a historical process – but being a tragedy. Slovak Academy of Sciences. and on the other hand. Some elements of sociology of public policy could be added to the analysis as well. Japanese. Western myths and “heroic” narratives of progress and growth have acquired a form of cultural memory. she rejects the possibility that Dmitri’s role had been purely instrumental in hands of foreign politics.g. re-building memories. depending on particular drama. The study would also be done through an analysis of speeches. social practices. a construtivist framework would be used. And how the tradition is created by restaurants owners too. Jaroslaw Kaczynski. even to dramatis personae. A first answer to this question would be that Poles are politically and culturally deeply divided on the way to deal with their past. it can be observed a significant growth of places offering traditional polish cuisine (with typical Warsaw specialties). it lacks depth and presupposes the domination of nature inherent in conventional rationalism: the subsumption of nature under humans. but rather a metaphor derived from the cognitive memory of the individual. Nowadays. mechanical world view resulted in a cultural amnesia with regard to nature. Belgium Cultural Memory as a Basis for Political Tensions: the Polish Case regarding Germany and Russia Historically. values and social relationships). The methodology would consist in analysing Polish newspapers and reviews such as Gazeta Wyborcza. Is it is possible to regain the necessary depth by inscribing different myths and narratives into the cultural memory by means of . In order to lead this research. how people living in Warsaw create the past. which are the most circulated sources of informatio in the country. the President. albeit a reflection of this rationalism. Consequently. 1595) and Dmitri (1605-6) being still a partisan of Florence (all byzantine-rite Christians under the jurisdiction of Constantinople). the Minister of Foreign Affairs or other politicians (e. European General Studies. Last year I conducted a qualitative and quantitative research to explore cultural and social roles of eating out and to analyze behaviour of people living in Warsaw in terms of gastronomy. she proposes to attribute it to historic characters and eventually. the Polish nation benefited from a rather strong political and cultural unity. it gives him a new life in drama and on the stage. citizens. creating past Hebert. from the Prime Minister. Abstract “Cultural memory” is not genuine memory.27 meet each other and merge continuously – this meetings. Poland Hlaváčová Anna A. Keywords: culinary culture.

The poetry of the Estonian poet Kristiina Ehin. the interviews are made with them about how they identify keywords “city identity”. the data’s will be remained to collect in order to interpret them the dialogue of cultural memory . Research planning: Ethnography about Izmir’s identity and the effect of festival as a phenomenon has already started. higher education Işikli. political economy. EPH media constantly defame social actors who actively oppose the mentioned economical. and thus emphasize the inevitability of the neoliberal system which includes the reform of the educational system. Daily Morning (Jutarnji list). Therefore. characterized by a process of commercialization (among other aspects) which is a part of more general trends in which public wealth is privatized. The works of self-educated. but it asserts many references about local culture. neoliberalism. and its role in the above mentioned processes. they are offered to have new experiences which provide giving new meaning. an empiric work is done to understand the meanings that they give and secondly they are given colour cards by asking to identify and describe Izmir and Izmir Festival. Izmir Festival which provides this effect might be considered as a promoter of the cultural memory at the same time the continuity from past to present. and actively oppose them. “Izmir”. poet. The paper will present the preliminary results of research that is a part of a larger project. “Izmir Festival” and “Izmir Festival’s participants”. members of the academic community or civil-society activists . While the city is extended. farmers. In this context. The rotten back-side of the “heroic” narrative of the herring-town Siglufjörður's prosperity and entry into modernity. We follow the argument that the media represent a field of constant struggle for hegemonic domination. According to this. It is a complex meeting point of economic. University of Rijeka Media Coverage of Higher Education Reform in Croatia: The Case Study of Morning Paper (Jutarnji list) The paper explores relationships between political and economic policies and the role of the media in promoting neoliberal ideology in a post-socialist transition context. during the student’s blockade of Croatian universities. The research which begins with empiric system contains mainly several interviews with Izmir Festival’s participants where they are asked this dialogue. political. “festival”. Keywords: Hromadzic. At the same time. This research aims to describe the awareness created by Izmir Festival. Although the circumstances change and each generation has different cultural perspective. historian and sorcerer Jón the Learned. Faculty of Humanities and Social Sciences. and useful tools in the politics of denunciation and exclusion of those social actors and trends that represent some form of opposition . The research focuses on the analysis of the daily newspaper Morning Paper (Jutarnji list) published by the media corporation Europe Press Holding (EPH) in Croatia. city’s identity doesn’t give only some information about the geography.28 interrogative dialogues with the past. and other interests of social elites. Izmir Festival and its participants have been selected as a case study where the perception process is investigated. the research will explore the coverage of Morning Paper regarding the higher education reform in Croatia known as the Bologna process. health care workers. This will be done by four brief and experimental analyses of: The medieval Saga of Grettir the Strong. The both help to get cultural codes of the local. and social trends. a visual map is asserted supporting the linguistic approach. 21st century which leads a fundamental changes from industrialisation to other sectors. organizer and artist. Apparently. ideological. by means of Bakhtinian dialogue and chronotope as well as ecosemiotic principles of deep-ecology (Kalevi Kull). political and social class determinants in which particular (mainstream) media are used in order to serve the financial. that can be turned into “cultural memory” in support of sustainable development. Especially. Hajrudin: Department of Cultural Studies. the inhabitants need values to gather that a festival may assert this. In doing so. More specifically. The focus of the analysis will be placed on the period from 2009-2010. The cities which are in transformation like Izmir experience this reconnection thanks to the artistic performances in a festival. For this conference. Moreover. While the latter organises classical music concerts in the province. it fosters to face the local inhabitants with the past of their cities. has proved the direct effect between human’s culture and his environment.that practically disturb the promotion of the earlier mentioned hegemonic politics. earlier cultures. The findings demonstrate their common perception which includes cultural geography but Izmir’s memory embedded into its identity. This media corporation and its newspapers were established to serve as effective tools in the promotion of the supposedly unquestionable historical inevitability of neoliberal reforms in the transition period. Keywords: media. the media are powerful actors in the promotion of certain ideological lines. in order to examine inherent ideas in traditional. When they have been in the historical places. Firstly. the local citizens leave the city centre for the outskirts or seaside borders. commercial. Icelandic writer. “İzmirli” (Izmir inhabitant). and its social implications. As a result. The participants are separated in three groups because of their positioning: spectator. regardless of their social position: they can be class-socially de-favored workers. Izmir needs an objective to reconnect its citizens with the past. Izmir seeks a new identity facing with this change. pre-industrial societies. Hasan: University of Ghent A festival for city’s memory? Cities are the common living areas which have been constantly reshaped by humans. Later the idea of ‘city’s identity’ has emerged. students. earlier modes of thinking? My paper will touch upon the pre-enlightenment conception of nature.all those social actors who are fighting to defend the public good or values in various ways. the commercial activities and new constructions in the old town prevent the visibility of the old constructions in Izmir which play the crucial role of city’s memory. I am interested in research of Morning Paper contribution to the construction of a historical narrative of Croatia's transition from socialism. Further research determines how they connect themselves with the city and the city’s festival.

Institute of Landscape Architecture. however. CultTour – Cultural garden and open space heritage as a focal point for sustainable tourism . Alfons Mucha. The various meanings in different eras are expressed differently in the sites. Keywords: collective and individual memory. secession. Karol Miloslav Lehotský. people reached out for the past as a resort to an inspiration for creating and shaping the present and also the culture of remembrance. Svetoslav Minkov and others.29 which provides the baseline of local culture and apparently. has served as inspiration for the design of the holiday calendar thus paving the way towards a new identity. Pixie. Avrig (Romania) and Taranto (Italy). Belgrade Festive culture of remembrance in Serbia A comprehensive social transformation of the South Slavic community marked the second half of the 20th century. cubism. Albert Zsolt: The Romanian Institute for Research on National Minorities Memory Construction and Practice. The text is overall concentrated on the Art of Gustav Klimt. which made its way into the future. based on the repression and forgetting the past. Dimana Modern Art in the cultural space and its influence on literature As we know. impressionism and secession. not completely lost in the maelstrom of events. The festive culture in Serbia has served as a framework for monitoring the perseverance of the culture of remembrance in recent history. In the previous decades. Our text is trying to explain that phenomenon by the credo of the writers and painters to turn even their life into Art. This aesthetic influences the literature also. all of which showing intensive changes and traces of collective memory in Alexandroupolis (Greece). Keywords: festive culture. Lička Lilli. landscape architecture. as well as to establish own traditions. The Creating and the Use of Cultural Memory in ClujNapoca (Romania) This paper focuses on the social usage of memory and seeks to explore the multiple roles and functions that the figures and representations of (cultural) memory have played and continue to play in representing. Within an European project an international team of landscape architects. Using the past to revive the collective remembrance and memory is suitable for the formation of a new or revitalizing old identity. as chrysanthemus. Javorov. Human activities shape a place and transform it into a site of cultural memory which influences the use and atmosphere of the place. ornament. Neumann and others. Bulgaria. The culture of the past and the later remembrance represents the past which biography is adapted to the needs of time and people. a new aesthetic in the Arts is being promoted. These transformations of the sites are analysed in the project. The project outcome will show ways of touristic re-use of the open spaces. holiday calendar. The holidays represent just another form of rejection of the old. Creating novelty is always based on the decomposition. floral symbols. Landscape Architects are always dealing with various (historical) layers of open spaces – be it physical or non-tangible. expressionism. IMC Krems and BOKU Vienna and partners providing pilot sites in Greece. Keywords: cultural space. Emanuil Popdimitrov. suppression and redefinition of the contents of the previous era which. abstraction Ivanović-Barišić Milina: Institute of Ethnography. University of Natural Resources and Life Sciences BOKU. A remark on awareness and consciousness about citizenship can be revealed as an additional element. Veliko Tarnovo (Bulgaria). This Art is changing the cultural model and is doing radical changes in the aesthetics. at the end of the 19-th and at the beginning of the 20-th century. landscape historians and tourism experts examines four pilot sites. Schwaba Manfred. Our text will try to explain before all secessionist Art and literature. serving at the same time to create new relationships in the community. Several art periods are being recognized in this aesthetic – symbolism. cultural memory. The research examines how hidden and obvious memories can be explored and described in order to enhance peoples understanding about the cultural histories of the open spaces. bring awareness to society and point out the value of the sites and its surrounding. Keywords: Ivanova. Humboldt Universität zu Berlin and Landscape Architecture from Technische Universität Dresden Cultural Memory enhancing the re‐use of open spaces This paper will describe aspects of cultural memory shown through the traces of layered meanings of open spaces in South East Europe¹. Thus. roses. open space heritage. violets are viewed as allegories of the lyrical subject’s soul. The past. František Kupka. Stanislav K. cultural memory of open space. SASA. Sirak Skitnik and their influence to Czech modernist writers as Jiří Karásek ze Lvovic. The text is not also forgetting to compare with French Art and literature. along the decomposition of the state.is a transnational project. keeps surviving in the memory of generations as a part of the past culture. cubism. Furchtlehner Jürgen. Rumania and Apulia/Italy. A new (socialist) society was devised. transformation of open space Jakab. mediating and manipulating collective . covering baroque gardens up to socialistic city squares or monument areas. The text is also explaining secessionist Art as overcoming ornaments and revealing itself as an abstraction. Vienna. Seliger Anja. who are reaching for the past images in order to justify their actions. Serbia Jacobs. the localization and orientation of indigenous ones in their environment. Austria. approved under the South East Europe (SEE) Transnational Cooperation Programme of the European Union and is carried out with scientific partners TU Berlin. Bulgarian modernist writers as Pejo K.

transcending the traditional opposition between Revolution and Counter-Revolution. its resettlement with past events is a permanent endeavor for dominant groups. Representation of the media in the art points to the importance of media in given historical period. and of those in formation. Finding the connection between fine arts and the media can broaden the horizon within historical and social sciences. contested memories. I would like to analyze more deeply the tendencies of past construction. cultural and economic exchange between the island and the different Diasporic groups (Damián Fernández 2005). There is always a domain of conflict between the Hungarian minority and the Romanian majority represented by the construction. as well as its specific appearances. Lorenzo García Vega’s El oficio de perder (200) and Octavio Armand’s El ocho cubano (2012) have been written from a variety of locations.that put a stop to one of the longest dictatorship in Europe. Universidad de Sevilla (Spain) Lives of Juan Abreu. political legitimacy Jesús Gómez de Tejada. Lorenzo García Vega. themes. but also one in the imagined past. Reinterpretation of the public sphere and the space. personal circumstances. London When did the Revolution End? Memories of Transition in the Aftermath of the Portuguese ‘Carnation Revolution’ On the 25th of April 1974 it took place in Portugal what was to be known as the ‘Carnation Revolution. This paper will analyze the different ways these authors articulate the threads of Cuban memory by focusing on the ideological stance revealed in their works and how these are expressed through recognizable styles. symbols.30 memory. ’ led by the military – the Portuguese Armed Forces . the institutionalized uses of cultural memory and the interethnic relations and symbolic behaviors that stay behind it in contemporary Cluj-Napoca. Octavio Armand Ježková Tereza. Juan Abreu. for 19 months. Keywords: Cuban literature. The active role that. Cuban autobiographies. Transnationalism. The relationship between media and art has not been. explored within the Czech media studies. Keywords: Joana Craveiro. The past constructed up to that point naturally lost its political legitimacy. annexed to Romania in 1920. Lorenzo García Vega and Octavio Armand: Cuban Transnational Autobiographies This paper will offer a comprehensive analysis of contemporary Cuban autobiographical writing by examining three autobiographies written by Cuban intellectuals belonging to different generations. the nets that emerge from the different politics of memory. The aim of my paper is to introduce a unique research that put together artworks that display means of mass communication in the Czech fine arts. Specific artworks can represent the artists themselves in a sense and the content can also present a more general topic or a social issue of the given era. culture and politics within the multiethnic (Romanian majority – Hungarian minority) context. Transylvania. and reveal differences between the old system and the new. images of the self and of the other. The objective of this paper is to show the perspectives and limits of art as a source of knowledge about cultural memory and advantages and disadvantages of combination of historical and semiotic analyses applied on artworks. as well as in the later periods used for example as a material for the art creation itself. so far. show how great social and political changes reshape attitudes to the past. In my ethnographic and socioanthropologic analysis I focus on the place-making. the invention and commemorative use of the past. Juan Abreu’s A la sombra del mar: jornadas cubanas con Reynaldo Arenas (1998). the factories were taken by . are an essential part of the literary corpus of autobiographical writing produced since the beginning of the Cuban Revolution. The collected items were a subject of interdisciplinary analysis – both historical and semiotic. Portugal would live a period called PREC or Revolutionary Process Under Way. Considering the number of artworks that involve (as either the major or minor topical element) the mass communications. acquire special relevance. What previously exposed component of the past was made invisible by the new system? What conflicts were revealed. and the attitudes adopted towards the reader. In this context. The period of time after 1989 proved to be one of the most productive regarding local construction of memory. memory plays in the processes of transition from dictatorship to democracy contributes to the presentation of these autobiographies as loci for the reconstruction of the Cuban Revolution and its consequences. The system change of 1989 brought along not only a political fracture. the contested memories and contributes to identitary settings. People took the power in the streets. This global perspective is based on the idea of Cuba as a transnational space characterized by the regular ideological. legitimating processes and national discourses were put into motion by the construction of (new) memory? Keywords: creating cultural memory ("spatialization"). These accounts. has varied significantly throughout the history of both art and media. social usage of memory. a corpus which has been substantially increased since the late 1990s. symbolic behaviors. published between 1998 and 2012. what kind of identity strategies. ideological positions and conceptions of the genre. Then. according to Aleida Assmann (2012). Charles University in Prague Fine Arts as Means for Studying Media History Studying art as a manifestation of cultural memory can help us to understand both collective and individual identities. On the social level resulted in the drama of diminuation of belief in the institutions and authorities. is a place of continuous Romanian–Hungarian conflicts. Some examples can clearly show us how media were produced and consumed. media seems to be a feasible theme. Roehampton University. memorial monuments and objects. The topic of media.

31 the workers. which are the main principles of the concept of a "Unicue Yugoslav culture space". generational experience. as an inherent component of poli-identity (Yugoslav and European). They were born and socialized in Soviet society. Revolution. By doing that I am mediating how two different generations (b. which discourses are dominating. that documents the foreign film production during this period. written by Hungarian writer Imre Madach. cultural diversity. and “Torrebela”. and had to adjust to new practices and strategies.from individual to collective memory. as well as the documentary “Another Country” by Sergio Treffaut (1999). in a function of the construction of dynamic multi-cultural identity of Subotica In 1985. the audience. Kirsti: University of Tartu. Through nostalgia they are giving in their life story narratives meaning to the complicated present (Berdahl 2010. Serbia "Madach. which had a stronghold in the concept of a "Unique Yugoslav cultural space". public memory. The play is seen as a socio-cultural phenomenon that reflects the supranational idea of its author. I will bring examples how they reminiscence their Soviet childhood and the years of transition in their biographical and cultural text. Testimonies. others say this date was actually the death of all possible political freedom. London: Pluto Press. known to them until that point. film makers. memory. manifestos were issued almost daily. Center of Excellence in Cultural Theory. the comments". Estonia Estonian stories of transition: reflected in autobiographies and cultural memory texts The structural reforms in Estonia have been praised from inside and outside of republic as an example of successful transformation from ex-Soviet republic into capitalist liberal society. Post-Memory. the subject of this research is a dynamic multi-cultural identity of Subotica. Keywords: Memories of Transition. " as the paradigmatic case of transformation from an individual to collective memory. political activists. The sudden transformation has evoked a kind of nostalgia for late Soviet time among them. the lands occupied by people who reclaimed the ‘right to work’. established by KPGT. 1861. which is based on a relationship among "Madach. Raby writes to the effect: For 19 months this small and impoverished nation on the western fringe of the continent was to experience a genuine revolutionary process such has not been seen in Western Europe for generations. National Theatre. his idea grew into a collective socially. This study analyzes multi-ethnicity. the 1990s destabilized established norms and values. multi-lingual. they lost their learned jobs. This paper and performance lecture aims at looking at these narratives of transition. namely “Scenes from the Class Struggles in Portugal”. p. late soviet time. Europe). So. I intend to show how the experiences from transition period are influencing how the late Soviet era (1960s-1980s) is reflected in cultural and autobiographical memory in post-Soviet Estonia. p. some saying it saved the nation from a communist dictatorship. This ‘revolution down the road’ as many non-Portuguese put it attracted all sorts of people: journalists. Political Memory. Besides autobiographical accounts I am looking also into cultural texts. I will also be using and analysing important films and documentaries made during this process.). multiculturalism. there were strikes almost every day. The participants in the process of identification are the artists. where before there had been but silence. L. L. Counter-Revolution. Subotica National Theatre Nepszίnház . as a symbol of urban identity. multi-confessional. by Robert Kramer and Phillip Spinelli (1976). when did the revolution end? What revolution is this we are talking about? Is it one revolution or more? These discrepancies are today gaining momentum as ways of remembering these events are constantly being transformed with each new government and according to its ideology. As a second example biographical interviews with cultural elite born in 1970ies are used. the newspapers were taken by the typographers. Nepszίnház KPGT. Which also leads us to the topic of how the late Soviet past is remembered in the post-soviet society. Faculty of Dramatic Arts.’ The 25th of November is still today an obscure episode of Portuguese history. the comments" . multi-ethnic. Subotica. in the beginning. the media and representatives of the local authorities. 56). by Thomas Harlan (1975/76). Democracy and Revolution – Latin America and Socialism Today. workers. The aim of the research is descriptive reconstruction of play "Madach. landowners were expropriated. photographers. D. the comments. cultural texts Jovanov Lazar.” (D. In current paper I want to show how the years of transition are reflected in autobiographical accounts and cultural memory texts. using testimonies from several people engaged in both ‘revolutions’ to highlight the conflicting memories pertaining one of the most important and crucial moments of Portuguese history. the comments" and the urban experience of the city. Department of Ethnology. The research aims to highlight how theatrical performance can display a value system that is crucial to the existence of multi-cultural communities (Subotica. Through which strategies they are writing the late soviet period to the cultural memory texts? Keywords: nostalgia. This project has had a great support of local authorities. Yugoslavia. ie. in a function of the construction of dynamic multi-cultural identity of Subotica. Since Ljubisa Ristic incorporated personal "international" concept in directing "The human tragedy". Where some say true democracy started with the 25th of November. Revisionism. place of memory . which is based on the epic drama "The human tragedy" (Az ember Tragedy. Raby.213) On the 25th of November 1975 a coup staged by a moderate faction within the Armed Forces put a stop to this ‘Revolutionary Process’ and Portugal got ‘back into the track again. Keywords: identity. We also examine the role of the stage space. with the play "Madach. Struggles for Memory Jõesalu. in 1940s and 1970s) are using nostalgia in their (auto)biographical and cultural texts.KPGT inaugurated the project "City Theatre". others saying that it betrayed the ideals of the revolution and ended it. Believing that the theater is a relevant element in a process of identification. politics was everywhere in every conversation. memories of transition. multi-confessionality and multi-linguality of the play. as a paradigmatic model of cultural pluralism. who came running to experience live a ‘true’ revolution happening in front of their eyes. University of Arts in Belgrade. and directed by Ljubisa Ristic. I am relying in my paper on the autobiographical texts of women born in 1940ies. Many of these women experienced difficulties at labor market. in a function of memory space. as the base of identification.

As the intended audience of Balkan movies are the non-Roma. Department of Ethnology. everyday life. biographical narrative. New Bulgarian University . and experiences? Drawing on several published travel narratives of Estonian ethnologists. Utrecht University Representing Roma in Balkan Cinema Mission: Finding the Gypsy Within Directors of Balkan movies often use “gypsy” imagery in order to depict themes related to the region. I give suggestions of how the Roma can take advantage of Balkan Cinema to speak up creatively about their culture. Institute of Cultural Research and Fine Arts Non-events in tourism: cultural memory of the everyday life Tourism is often associated with escape from the so-called everyday life and seen as a short period of quality time compared and juxtaposed to the regular (work) time. Christian rites de passage.religionandsociety. Keywords: Balkan. inherited from the pre-socialist period. the collective strategies for escape from the pregiven dynamics of social life. Keywords: anthropology of tourism. and moments of hesitation. Indeed. spaces and routes. Kliment Ohridsky ". the (non)institutional agencies of religious activities (church attendance. and the individual life trajectories. the paper discusses the cultural memory of religious life within and outside the Orthodox parishes. Whereas in Bulgaria the meanings of Christian beliefs and Christian rites de passages (baptism. in Romania the institutional forms of ritual practices were maintained and preserved due to the consistent policy of traditionalism of the governing elites. Roma. funeral service) were neglected and revised for the purpose of the propaganda of scientific atheism. In contrast. we intent to interpret the popular . So. This research will address the issue of projective identification in Emir Kusturica’s Time of the Gypsies (1988) and Aleksandar Petrovic’s I Even Met Happy Gypsies (1967) where I argue that they perpetuate the socially existing stereotypes about the Roma while trying to enforce the theme of Yugoslav nostalgia. Sofia University “St. non-events. Teodora. the use of “gypsy” imagery serves to depict other Balkan cultural groups in a better light through the method of projective identification as a response to the projective identification method of Western cultural groups vis-a-vis the Balkan. The cultural memory of the repressions over religious rites will be taken into special consideration.video advertisement and TV reportage paying special attention on the selling and promotional aims. CCCS Mass popularization of the mediterranean topos and places of memory through the media genres video advertisement and reportage The article analyzes the ways according to which the popular Mediterranean narrative is created within the media genres . wedding. the tourist experience often magnifies everyday life and has noteworthy transformative power both in the life of the individual (and societies in general). projective identification.org. Keywords: religious memory of socialism.uk). cinema. To conclude. rituals) and Orthodox identities were constructed in quite a different way. Following Orvar Löfgren’s (2010) idea of ‘nonevents’ (“mundane activities that are generally considered inconspicuous and unimportant – not worth paying attention to – or pursuits that remain unnoticed by others”) I ask what do the tourists do when they “do nothing”? Which are those non-events that remain on the borders of the tourist experiences and give frame to those memorable events. Tony Gatlif’sGadjo Dilo (1997) implements a turning point of opposing the process of projective identification adding a moment of doubt among non-Roma viewers of their assumptions about the Roma as a cultural group. Through analyzing the biographical stories about the recent past we will try to present and compare the tensions and discrepancies which emerge among the state cultural agenda. boredom. occasions. boredom. Philosophy and Sociology Department. temporalities Kamberi Ermira. I will trace the cultural memory of waiting and boredom. Taking as a starting point the idea that after WWI the relationship between the church and the state substantially changed in Bulgaria and Romania. Karamelska. The interest moves toward giving possible answers of the question how much these practices of mass representation contribute for simulating the topos (in simulacra and simulation sense) and what is their impact when it is imagined. Despite the socialist governments in both countries. Goncharova. recorded in the framework of the international project „Marking Transitions and Meaning across the Life Course: Memories of Religious and Secular Ceremonies in Eastern and Western Europe” (www. in addition to those ‘tourist moments’ or “spontaneous instances of self discovery and belonging” (Hom Cary 2004). For this goal. Galina. anti-communist identity. festivities. In tourism studies there hasn’t been much concern for the everyday discourses that influence the ways in which tourist experiences are created and constructed. secularisation Karanfilovski Tomislav. there are also long waits in the airports or other non-places (as Marc Augé has called them) or hours spent on the bus travelling from one point of interest to the next. and the interethnic issues as a way to challenge the widespread use of “gypsy” imagery. the issues within their community. The overwhelming use of romantic references to Romani culture manipulates the cultural memory of the Roma leaving them and their contemporary social problems largely misunderstood and immutable. as well as on a comparative analysis of empirical data from the European Values Survey. fulfilling mundane tasks etc. everyday rituals and bodily practices. But it is quite clear that the touristic experience cannot consist only of the heightened moments: our travels are also made of long periods of waiting. Department of History and Theory of Culture The Religious Memory of Socialism in a Biographical Context The proposed paper is based on forty in-depth biographical interviews with men and women at the age of over 75. culture.32 Kaaristo Maarja. the passing of time.

including Croatian. elitism. hedonism. kajkavian and chakavian. prisoning the enemy soldiers. their grammar content. Nuhoğlu. Aylin. Keywords: Karapejovski Boban. which was/were using this philosophy for re-creation of its own bourgeoisie. CCCS Karl Marx in the Cultural Memory of the Macedonians and the Nations of the so called Eastern Block . etc. culture. identity. Key Words: contemporary art in Turkey. Finally the artist and I found ourselves inspired by the memories of this place and decided to take them as our point of beginning for this exhibition. belonging to stokavian vernacular. It was my desire to understand how the people had engaged with the specifities of this building in the past. Slavonian dialect is characterized by using a lot of turk. hiding and sheltering for partisan detachment in the Second World War. Because of distinctiveness and language regularities which are manifested in grammar and lexis of every dialect. says Nouriel Roubini. hungarian and german loanwords.Reception and Perception The severe economic crisis raised the question: Was Marx right? Or. curatorial studies. language in folk rituals of Slavonian dialect. his philosophy or his diagnosis and cures. for example. used in certain rituals (for example: Christmas Eve. What is today’s /nowadays reception and perception of Marx in these countries and how do people react to the possibility of their memory becoming their present tomorrow!? Keywords: Kartal. Following her interest she produced space-related works throughout her career. memory. Very often those language formulas. identity. A reactualization of his ideas. identity. language expressions. border/boundary Katarina Aladrović Slovaček. Does he inspire and will be inspiring new tendencies and ways of (more or less) global activism and are his ideas a phenomenon that will redefine global politics and society? Are Marx's ideas truly part of cultural memory in the so called Eastern block or were they perverted by the past system(s). November. but also extralinguistic conditions. has recently become attractive once again. changing consonant set –st in –šć. Istanbul based researcher Working with the Memory of Place: The Curatorial Case of Gönül Nuhoğlu Exhibition at the Castle of Trezzo In this paper. The Faculty of Teacher Education of the University of Zagreb Language in folk rituals The richness of every language. Also. The acceptance and reactualization of Marx these days. escapism trying to give enough arguments which will show the different (deconstructed) image of this topos. absence of infinitive ending –i. so called language formulas are used in folk rituals. At this point. were written in decasyllable and could serve as folk sayings (Saint Catherine –snow is waiting. language formulas . policy making and activism (take. using nominative instead of locative and genitive instead of accusative case. At the outset I centered my thoughts for this exhibition on Nuhoğlu’s interests and the idea of the remembering the past memories of the exhibition space. could bring us/open alternative ways of practicing politics. making third person of present tense by ending –eju. Croatian language.“I treat you with bread and wine and you treat me with happiness and peace”). and extralinguistic conditions where we can find those language formulas or language forms will be described. language is a living organism influenced by interlinguistic. Are Marx's ideas a philosophy. Keywords: Croatian language. being one of south Slavic languages. In this context a number of works and installations which revolve around memory. especially in the Western countries. will be analyzed. The text interprets the stereotypical image of the Mediterranean through which it is performed as a place of adventure. is spoken by seven million people. a view of the world or a practical "know-how"? "Marx was right about self-destruction of capitalism". In this paper language formulas which are used in folk rituals will be listed and described.33 representative forms which are mostly articulated through the concepts of consumerism. in October 2013 and try to make meaningful quotations to unfold a larger framework of the social and political contexts of her work. Saint Catherine. defensing. A number of key ideas emerged from this idea regarding the conceptions of place and boundaries. the places (figures) of memory are taken into consideration as their function is being objects of market interest. in this paper. Very often. sixteen dialects and many local speeches. the “Occupy Wall Street” movement). Nowadays it has been using for art exhibitions and festivals. hosting the illustrious parties of the Barnabo reign. as well as his economic and social studies. It is stratified in time and space: there are three vernaculars: stokavian. 25). Folk rituals are usually connected to specific periods in calendar and church year. drawing the “borderline” of the natural border of Milanese area towards east. to feasting specific saints but also feasting of specific events that marked some region in the history. manifests in a large number of idioms through which that language is realized in different geographical regions. The castle dates back to 1158 AC and has been used for different purposes over the years including. borders and mapping are currently being created by the artist. as Terry Eagleton writes: WHY Marx was right. This time the exhibition at the castle of Trezzo borrows its theme from the memory of the castle. which are used the way they were in the past and were transferred from one generation to other. It is expected that this paper will enrich Croatian language expression as one of an important parts of Croatian identity and culture. has always been attracted to the special features of the exhibition space. I will focus on the contemporary artist Gönül Nuhoğlu`s upcoming solo exhibition curated by myself at the Castle of Trezzo in Trezzo sul’Adda Italy. or non-acceptance of Marx and a further global crisis could lead to a rebirth of the extreme right. semantics and lexeme choice will be analyzed.

Always privileging the local against the global. Saint Mary's College of Maryland An Ecological Approach to Memory: Composting Traumatic Histories Can we conceptualize history and the conservation of memory along biological principles of ecology? History is an organic process by which families. Butler’s essays draw far-reaching parallels between the break-up of empire in the Balkans with post-independence Ireland where ethnic and religious divisions continue to haunt the Irish Republic. by which toxic remainders of previous regimes are truthfully confronted and resolved. contemporary literature. These cultural changes (social and historical. 1992. Finally. fear and desire to liven up. the paper will briefly review the impact of Butler’s writing in the Balkans and whether. Keywords: Ecology. memory. he has now established “a niche in the national life that once hosted him” Keywords: Kërbizi Marisa. shortening the distance between the narrator and the author. Describing himself as an ‘Ascendency Nationalist’. clarifies. But an ecological perspective would propose composting as an alternative paradigm to envision the decontamination and transformation of traumatic histories. thereby promising closure on divisive legacies and painful pasts. The alignment between the local Irish Butler rooted in his home country and his engagement with ex-Yugoslavia will be re-examined. etc. Keywords: ontological change. and degradation. Benjamin: South East European University. Butler was educated at Oxford before travelling widely in Russia and eastern Europe in the 1920s and 1930s. decontaminating toxic histories. Such works function not merely as historical meta-fiction that follows a specific time. descent into collective evil. However. ontological changes. southern Ireland. Butler championed a civic nationalism against the violent racialism which he saw overtaking Europe in the 1930s. This suggests that noxious memories and poisonous ideologies should neither be conserved indefinitely. “Aleksandër Moisiu” University. b) Human “instance”: the involvement of the details concerning the author’s life (in the plot) enriches the text with a human dimension. would earn Butler notoriety in his own country where Butler was ostracized by the Catholic Irish establishment for publically condemning Archbishop Stepinac’s collusion with the Ustashe regime. By identifying wartime atrocities in Croatia and Catholic Ireland’s collusion in assisting the war-criminal Artukovitch to escape to the USA. Albania Shortening the distance between the narrator and the author in contemporary literature. The purpose of this paper is the analysis of the shortening of the distance between the narrator and the author. Department of Philosophy and Religious Studies. and refuse must be detoxified and turned into a resource. the combination between the two types of narrations: artificial narration and natural one provide literary texts (in modern and postmodern works). as well as nation states transmit the legacies of past economic. political. . Born into an aristocratic family in Kilkenny. composting guilt Keatinge. sludge. too) are conveyed in different literary ways. in Chris Agee’s words. The shortening of the distance between the narrator and the author makes the data transmitted through art to be filtered through two units: a) Narrative instance: the narrator generalizes the experience that comes through events/plot. 2013) among the Slovenians evacuated from Sarajevo by the Slovenian government with a collective Slovenian passport on November 18 and November 20. on the presumption of their “Slovenian” origins. Durrës. In contrast to the time-tested models to forgive-and-forget. based on his archival work in Zagreb in 1947. dehumanization. ethnic and religious communities. nor discarded out of sight in segregated garbage piles. Klavora Marko. In this way. states. as a literary way to convey the dual shock of the historical memory associated with a certain time. Truth and Reconciliation Commissions are built on the pledge of purgation. The practice of composting demonstrates that one generation’s waste. Unfortunately. the metaphor of the compost pile suggests that cultural memory performs critical tasks in the decontamination and transformation of traumatic histories into humanizing and fruitful stories. This paper will re-examine Butler’s Balkan essays and introduce them to a Macedonian audience. Macedonia An Irishman in Yugoslavia: Hubert Butler and Cultural Memory in Ireland and the Balkans Hubert Butler (1900-1991) was an Irish historian and essayist whose work is notable for its European and specifically Balkan themes.34 Katharina von Kellenbach. with an emphasized sensitivity. historical memory. philosophical activities to future generations. shocks in the deep layers of national memory. In the aftermath of atrocities. his exposure of Catholic complicity in the wartime genocide in Croatia in such essays as ‘The Artukovitch File’ and ‘Report on Yugoslavia’. religious. Cultural memory acts as a filter that sifts. and transforms the raw materials of facts and experiences into narratives that construct communal and personal identities. Tetovo. phenomena felt but not visible and the ones that are visible but cannot be understood. Research Centre of the Slovenian Academy of Sciences and Arts Those who go The paper is based on a field research (2012. as a medium for the transmission of ontological change Contemporary literature (modern and postmodern) tends to bring to the surface movements in collective unconsciousness. and communities yearn for new beginnings and the grace of forgiveness and forgetfulness. The paper will explore the extent to which a cathartic and reconstructive sense of cultural memory depends on the ethical integrity of writers like Butler. the Protestant Butler paid a high social price in the narrowly sectarian atmosphere of Ireland in the 1950s. indeed the food for the next generation. communities bequeath not only their accomplishments but also their traumatic failures. Their main goal is to present the “Man” who finds himself trapped within specific time with all his sensitivity. cultures. the communist dictatorship one.

35 The author will present the beginning of the war in Sarajevo in 1992 and the context of the evacuation through the perception of some protagonists of the evacuation. with the mechanisms of its changes. Landsberg 2004). Kornelia: European University Institute. Italy “Polish-German Lieux de Mémoire”: cultural memory beyond the nation It does not often happen that a local research concept pursues a transnational career. by and through the media (Frosh & Pinchevski 2009. their collective memory and the remembrance of the past life in Sarajevo the author tries to understand their experience of the war and the impossible dilemma they faced in November 1992. memory media Kończal. On the one hand I will investigate the relation between BIH and in particular Sarajevo as a thanatouristic site and the prolific production of YouTube videos by travelers to Sarajevo. especially the differences and similarities of political memory projects in today’s Poland and the ways of stimulating and influencing the culture using political and economic tools.g. but a process on which. Witnessing is an inevitable form of subjectivity that globalization and transnational dependency and responsibility entail across borders and it has a double meaning: on the one hand it encompasses eyewitness testimonies based on first hand knowledge. a film. Keywords: Sarajevo. they had to face their identity and a hostile environment: for the Slovenian public opinion. Florence. a museum exhibition. Slovenians. Once arrived in Slovenia. Knobel and Lankshear 2010) and web memorials offer an opportunity for ‘ordinary people’ to perform media witnessing in. war. Nora’s intention was to create a new tool which could be useful in rethinking the history of France. but a cultural evil. Britta Timm: Department of Aesthetics and Communication. I intent to demonstrate how the departure / rescue of the evacuees from Sarajevo was not an outcome of a logical and simple choice. memory clichés) to the general mechanisms of activating the past in order to construct Polish identity (or identities). from the specificity of each event (e. Weissman 2004. the originator and editor of the seven volumes of “Les Lieux de mémoire” (1984-1992) was convinced that his concept could be applied only to the French past. but also how the present constructs the past. affects Kobielska. This piece will consider the web memorials as part of the social making of Sarajevo (Landsberg 2004. Denmark The besieged city in the heart of Europe. which a Bosnian-Croatian writer and poet Miljenko Jergović characterized as a reduction to choosing a belonging team. authority&the use of cultural memory. The starting point is the individual – participant in the evacuation convoy in November 1992 – and his/her historical experience of the pre-war Bosnia and Herzegovina and Sarajevo. in addition to war circumstances and events. Cultural memory in Poland after 1989 The paper will sum up my research. Sniper Alley in Sarajevo as memorial site on YouTube This study will look at witnessing at difficult heritage sites to investigate the particular forms of witnessing that online memorials to remember victims of conflicts articulate. contemporary Polish culture. playing a special role in the history. Nevertheless. this is precisely what happened to the concept of lieu de mémoire – a term coined in the 1980s by French historian and publisher Pierre Nora. The relation between state politics and culture will be also analyzed. witnessing. seen as fundamental. at the moment of the beginning of the war. In the beginning.g. ways of influencing it and actors that are engaged in these activities. The tributes are vernacular responses to the siege of Sarajevo from 5 April 1992 to 29 February 1996. digital media. filmic and documentary analytical tools in order to detect the communicative form of the videos and their subsequent impact on YouTube users. Faculty of Polish Studies Patterns and politics. Maria: Jagiellonian University in Cracow. Slovenians from Sarajevo who were interviewed by the author with the method of oral history interview. The empirical material will be 45 recent YouTube videos and their subsequent commentaries. Aarhus University. In the paper I will show the patterns which organize remembering in contemporary Polish culture. I will thus try to answer not only a question how the past shapes the present. events. I focused on three events of the 20th century polish history – the Katyń massacre (1940). the last 20 years have been proving that the concept of realms of memory – to use the problematic English translation of les lieux de mémoire preferred by Nora himself – can be applied with success in a variety of geographical and temporal . memory culture produces thus different ways in which these experiences are articulated and expressed. identity Knudsen. personal and multi-generational family "histories" had an impact. These are specific centers of cultural memory. on the other hand it signifies bearing witness to something and becoming a secondary or a nonwitness often to prosthetic memory (Oliver2001. the longest siege of a capital city in the history of modern warfare. Keywords: politics of memory. but is also influenced by intensive politics of memory. the aim of which was to create a map of polish cultural memory after 1989. memory. These should be vied in the context of the Yugoslav socio-cultural model which generated them and which. often within incompatible discourses and various visions of the past. Sather-Wagstaff 2011) and will have a double analytical focus. the Warsaw uprising (1944) and the martial law (1981-1983). However. 2011). (Jenkins 2006. On the other hand I will analyze the videos using textual. Lull 2007. The paper will present one example of a cultural memory text (e. memories of transitions. In contemporary Polish culture they are constantly retold and reinterpreted. suddenly evaporated. openness and interactivity is part of contemporary participatory and DIY cultures performing the transition from a media user paradigm to a media produser paradigm. often recollected in national ceremonies as well as in children’s books. Through the life experience of Sarajevo Slovenians. The web culture of commemoration characterized by easy access. which was not a political. they were »the Others«. a happening) referring to each of the above—mentioned events and interpret it from a perspective of memory patterns and politics which are revealed. Keywords: Thanatourism.

Most of them. St. modern questions of globalization. media. njihova falsifikacija i/ili ovjera njihove autentičnosti. as well as its 15 chapters. cultural memory. what ideas are included into an official discourse and what remain part of extreme positions. The conceptualization of Romanesquelike structure is also achieved by further elaboration of symmetry motive. There can be no talk of French ‘exclusiveness’ of les lieux de mémoire. For the purpose of confirmation or a denial of this hypothesis research on the example of Russia and Turkey is conducted. Media gives the chance to trace similar transformations. recycling of faction. it deconstructs some established notions and prejudices. values. At the same time. Research shows. Emilija Učiteljski fakultet Sveučilišta u Zagrebu Odsjek u Čakovcu Roman-album: forsiranje sjećanja Rad preispituje načine funkcioniranja sjećanja u kritičnim društvenim momentima (poraće. tranzicija. shared and parallel Polish-German lieux de mémoire. Apart from the grammar code for novel composition and its conceptualization. to predict further development. dijalektički proces kulture sjećanja . Keywords: cultural memory. Faculty of Teacher Education of the University of Zagreb. Today we see religion and policy rapprochement. It is the very order of the characters and/or narrators through different criteria – gender. This is not to say that “Polish-German Lieux de Mémoire” is the first publication ever that aims at transcending national borders in the examination of lieux de mémoire. to receive information about current state of society. A distinct.media resources of different orientated political forces and official channels of two states. Auron. at the same time recycling faction through fiction just as the author did in her other novels (Az. The first large-scale attempt to go beyond the national framework is the research project “Polish-German Lieux de Mémoire” carried out between 2006 and 2013 at the Center for Historical Research of the Polish Academy of Sciences in Berlin in cooperation with Carl von Ossietzky University in Oldenburg. lexicographical discourse type. In Russia – communists and the conservatives gravitating to socialist and monarchic values. deal with the national history. possible ways how to perceive the town or its history. historic period. The scientific analysis results show how new identity formation corresponds to perception of globalization process in Russia and Turkey. Although the ‘real’ objects of remembering are completely different there are many parallels in their identity-building functioning in the Polish and German society – for instance as symbols of betrayal or success. One of them we will call imperial and will pay attention that for it religious legitimization of the political power is characteristic. but considerably gains strength a «neoottomanizm». it is the first large-scale research project proposing a practical application of a new research design inspired by Nora’s concept. and in everyone there are the political forces focused on ideals of the various periods. the novel provides very important ties between the narrators and the characters and their elaborate distribution. A key figure is a phantasmagoric character of Isabella von Habsburg. The symmetry exists in distribution of the narrators’ voices. personification. and it is naturally reflected in the various historical periods assessment. narrative set of methods that is characteristic for a scientific. Buljubašić Ivana. kriza). three contain essays on common. profession. in official discourse of both countries attempt of rehabilitation and reconciliation of the different historical periods. entangled history. and also the appeal to religious values is observed. The last type of lieux de mémoire addressed in the Polish-German project is a new category referring to two (or more) completely dissimilar historical phenomena. however.Petersburg State University. Jasna Horvat. lieux de mémoire (realms of memory). functioning as the novel’s recurrent theme. Estimation of popular events of the past. The novel has 15 different narrators and particular importance is given to interconnection between the characters and the narrators and their ties to socio-historic periods they belong to. Of the nine volumes in total (five in German and four in Polish). Konstrukcija i dekonstrukcija memoriranih struktura. Empirical base . Polish-German history Korzheneva Olga. but also a Jacques Lacan-like point de capiton. and also the persons personifying every era are interesting.36 contexts. The novel here is being seen as a post-OULIPO (Ouvroir de littérature potentielle) arrativethat shapes a conceptual Romanesque-like structure primarily as grammar code for subordinate conjunctions and their dependent and independent clauses in Croatian language. as key order of narration. Yet. The purpose is determination of the political values connected with the various historical periods. in contrast to manifold rather disparate conference volumes or purely editorial undertakings. additionally proves our ‘reading‘ of Osijek as a cultural mnemotope. globalization. faculty of journalism Religious values in a political discourse: analysis of Russian and Turkish mass media Changes in historical events estimation always were faultless criterion of valuable orientations shift in political process. as memorial embodiment of paradise lost or imperial ambitions or other figures constituting the sense of belonging to the community. mnemotope Kovač. Vilikon). and the second – secular. Faculty of Humanities of the University of Osijek A Conceptual Mnemotope of Osijek in Jasna Horvat's Novel Bizarij The novel Bizarij (2009) preserves a cultural memory of the town of Osijek. The aim of this international undertaking is to rethink the Polish-German history through the lens of two approaches tied together: the history of Polish-German relations (Beziehungsgeschichte) and the history of collective memory (Erinnerungsgeschichte). Kos-Lajtman Andrijana. Research method – the valuable and political analysis based on axiological approach to journalism and mass media studying. and yet builds some new. Today both countries are involved in globalization processes. Probably. and their ethnicity – that gives the convincing and credible multi-layered cultural memory of the town of Osijek. Keywords: valuable and political analysis. In Turkey there still are supporters of Kemal Ataturk ideas. if only because from the mid-1990s onwards historians from many (Western) European countries have been conceptualising interesting research projects inspired by Nora’s idea. Keywords: Bizarij. used at several discourse layers in various ways. The countries are pulled together by existence of two historical periods. neighbourhood.

Keywords: place memory. produced by tourist guide books on Croatia (published for 'Western' audiences in a ten-year period encompassing Croatia's 2003 EU candidacy and its 2013 EU entry). kulturna memorija i kultura memoriranja dobivaju izuzetno mjesto kao reakcija na kulturu (?) zaborava (Irena Vrkljan. I believe that Chernivtsi. Faculty of Political Science at the University of Zagreb Snapshot memories of EU's Others: the floating location of Croatia (from a 'Balkan' to a 'European' country) in the symbolic cartographies of 'Western' tourist guide books surrounding the EU candidacy 2003-2013 In this paper I present findings of my discourse and textual analysis of the significance that cultural mapping. Vilikon). sjećanje. etika/estetika sjećanja. ali uglavnom na razini poetičkih dodira (tehnike intertekstualnosti i citatnosti. and contents of a multiplicity of meanings. In my presentation by using the method of walking memory path conducted with the members of Diaspora I show what is the Czernowitz from their memory and what are their particular identification. Dubravka Ugrešić. EU. Jasna Horvat. Its long and multiethnic history. who live mostly outside of Ukraine and even Europe. to paraphrase Stuart Hall. tourism. identitet. connotations and contexts. Maria Curie-Sklodowska University in Lublin. Scientific and professional circles are . Moreover. within the specific symbolic infrastructures (such as guide books) of the rising post-industrial leisure mobility. Moreover. Croatia. At the beginning of the encompassed period Croatia was located (along a systematic emphasis on its involvement in recent Yugoslav wars and its mainly Slavic origin) on a marginal and underdeveloped European East. concepts.. is still undergoing a complex cultural memory transition. Na fonu postmodernizma. onto a virtual Central European map (accentuating the country's historical connections to Austria. u kojem je pitanje načina i sadržaja memoriranja izuzetno važno. Karolina: Institute of Cultural Studies. Na ruševinama ideje o kraju povijesti te zbog izuzetnog iskustva (rat). but without lasting historical commitment. koji funkcionira kao skup strategija sjećanja. hence produce what I call 'snapshot memories': mediated remembrances of the Other claiming first-hand travel writer's validity. the city which is the subject of my presentation. Njegova je nakana sabiranjem dokaza o egzistentnosti individualne i kolektivne prošlosti utemeljiti krhko tkivo identiteta na idejnosti koja se kontinuirano nadograđuje definirajući (nacionalnu) posebnost. koji se nameće kao strukturni obrazac za organizaciju naracije.roman-rječnik (Nikola Pavić. Sjećanje i identitet). Poland / Nationalism Studies Program. Keywords: guide books. Czernowitz Jewish Diaspora and their search for Home. Jewish Diaspora. articulated in specific historical contexts. As for them Czernowitz – the name of the city from the Austro-Hungarian period . Chernivtsi Krajina Zlatan. Pred crvenim zidom) problematizirajući fenomen prošlosti i njene relevantnosti u poimanju životnih tijekova i njihovoj interpretaciji Ključne riječi: roman-album. Museum of Recent History Celje Memory as a museum practice In the current public discourse memory is among the most common words. This terminology is particularly popular with politicians and publicists striving for a more colourful vocabulary. it was a time of rediscovering “lost” memory and “black holes” (Gruber 2002) in the history of Central and East European societies in reference to pre-Soviet period.37 (velikim dijelom medijski nadzirane i konstruirane) i kulture zaborava . Krhotine. Balkanism Kregar Tone. can have for our understanding of the volatility of remembering the Balkans outside the Balkans. serving an increasing number of Western European visitors as key resources in their cultural orientations on the Other's ground. Takvom obliku poticaj je dao ratni kontekst. Hungary Exploring the cityscape through the method of walking memory path. is. the interpretations of our past and consequently our present often include references of collective and historical memory. One of the narratives connected with the cityscape of Chernivtsi produce the members of Czernowitz Jewish Diaspora. changing rules of empires. bez valorizacijskijh (ideologičnih) intencija. following a series of the country's adaptations to EU's norms as a coming member. Chernivtsi is a special place on the map of not only Ukrainian but the post-Soviet area. time i album. Hungary and Italy). 'Witness' guide books. As I show by exploring the memory places in the city they build their own sense of identity and place belonging. Muzej bezuvjetne predaje). My research suggests that Croatia's location in the European imaginary. Hazarski rečnik. Othering. one of a 'floating signifier': an expression of Balkanist representational power relations between the mapper and the mapped. This incessant shifting of Croatia's place in Western Europe's memories requires us to question political relevance that contemporary discursive formations of Balkan Other's pasts can have for their European futures. Besides personal memory. place identity. Album. Central European University in Budapest. te posebice nam interesantan roman-album (Željka Čorak. borderland location and contemporary mixture of many ethnic groups make it an contested space for many actors struggling between each others for recognition and “right to the city”. nastaju novi narativni oblici .is not only a part of their history but first of all a myth of their “Golden Age”. Mladen Kirin. memory. The 1990s brought changes not only in the geopolitical map of Europe but also began the long path of transition into democracy and the market economy of the populace living in the former Soviet bloc. kraj povijesti Koziura. walking memory path. while. Croatia was curiously re-located. Fotografija postaje vrijednost sama po sebi. A part of this is the ethnic and religious revival observed in its space experienced by many national groups who live there.krajnje su točke između kojih postojanje nastoji definirati svoj identitet (Ivan Pavao II. who often use the fore mentioned terms as synonyms. preispitivanje jezičnog potencijala).

Koura Hisako. This is now one of the new Slovenian’s challenges of museology and musicology in an interdisciplinary and multidisciplinary approach so the art of painting and music could be a benefit for the visitors of this and other museums. Škofja Loka became the so called Slovenian “Barbizon” (i. because the person is dead. historians. University of Latvia Autobiographical Self-Representations and Family Histories in Latvian Visual Culture For this paper I propose to analyse the documentation of culture in still images (photographs) and moving images (film and video) in Latvian visual culture. modern style. I will examine works where family histories and political histories unfold as difficult processes of remembering and struggle. who composed some of his musical works (songs and choirs) in Škofja Loka. Therefore it is often difficult to clearly distinguish one from another and to deal with them separately. too. especially those historians who study (still "alive") 20th century. as it has been a traumatic experience both for those who were dislocated and for those who stayed in Latvia and had their lives literally broken under the Communist regime. like in my case . Matija Jama and Matej Sternen. Although modernization is logical continuation in the evolution of any living city. Although greater terminological clarity in this regard would be more than welcome. focusing on autobiographical self-representations and family histories. composer. musicology Krstikj. Slovenia. we examined modern developments and changes of the urban patterns that impaired the historic context of Skopje’s old center.or videomaker. once the settlement of painters) and this art and old tradition inspired another Slovenian (music) artist Oskar Dev (1868−1932). Autobiography will be analysed from the point where the film. who embody a particular cultural history of displacement or tradition. individual memories and collective memory to shape the historical memory of a community or society. museology. consequently. some kilometres northwest of Ljubljana. Slovenia Ivan Grohar and Oskar Dev – an interdisciplinary and multidisciplinary fragment comparison of their artistic works in Škofja Loka/Slovenia (1905–1911) The new Grohar’s room in the Škofja Loka Museum that is located in a more than a thousand years old town. many specific examples of our work further demonstrate the moulding complexity of memory and its forms and go beyond the theoretical classifications and division.or videomaker. family histories. based on the historic significance of place Historic urban areas are the main containers of cultural achievements of communities. together with Richard Jakopič. ethnographer. complement.work in a museum. represents one of the new possibilities to popularize old local history. documentation of culture. the dislocation trauma will be analysed through the theme of exile and collective memories. thus the history of self is examined as part of a larger cultural and political mechanism. personal documenting. on the role of memory or on the very process of remembering. or photographer confronts himself or herself as tourist. Keywords: old local history. Thus. teaching. repatriation is not possible due to the acquired language and culture barrier. In this paper. Department of Film and Theatre Theory and History. Keywords: autobiographical self-representations. Historians working in the Museum of Recent History Celje are faced with these issues and problems on a daily basis. And who in their work. painter. embodying the Other. The discussion points . paintings and (musical) works. Even more so because they often intertwine with each other. let it be research. within this corpus certain differences in the terminology and different views on the types and forms of memory do exist. They both were inspired by the countryside that reflected on their works. French village near Fontainebleau. visual culture Križnar. the encounter with a relative belonging to a different culture. A particular characteristic trait in these works is the metaphor of journey. exile or immigrant. In many cases. Osaka University Design concept for the conservation of the Old Bazaar in Skopje. These Slovenian painters are the founders of impressionism within the modern style.e. rely on both.that is in research. The space becomes the signifier of the lost Other. Maribor. I will look at works where artists have found alternative solutions in personal documenting even in the absence of a person at the center of it. understanding and interpreting our past or our history. Also. Aleksandra. Ivan Grohar (1867−1911) is one of the four well-known Slovenian painters from the beginning of the 20th century. I am interested in the cultural representations of the previous generations manifested in visual culture. rather than psychological and sociological theories (by Maurice Halbwachs and others) we focus on how we. Faculty of Humanities. Keywords: Kristberga Laine. overlap. or.38 more conscientious at differentiating these terms. look on the various forms of memory. musical works: songs and choirs. “Barbizon”. Travelling becomes a form of temporal experience through which the film. impressionism. Franc: IGIZ / IMIS CIMRS UM. However. as their research focuses on studying the past and. In these cases. Often it is manifested as a staged encounter with parent(s) or grandparent(s). On some occasions. sometimes even exclude each other. or. providing a form of cultural knowledge. in this paper our aim is to examine a design concept of moderate modern developments in the historic area of Skopje to sustain and even promote the historic context. or photographer understands his or her personal history to be implicated in larger social formations and historical processes. His and Grohar’s period in Škofja Loka (1905-1911) resulted in some extraordinary art works i. memory.e. it is most important that we correctly identify the different forms and types of memory and its components and that we use them appropriately in our work . cannot be physically staged. and transform from one to another. First.

memory. We concentrated on two key elements of the Ottoman urban strategy: the allocation of public facilities and primary roads. that restructured the urban form and resulted in damage or destruction of the historic urban form. this process is still far from being complete. between the official state ritual practices and living message (cultural memory) and experience of Polish witnesses of the Holocaust (communicative memory). conflict. One of the most important features of Polish collective memory changes after the fall of communism in 1989 was including elements of the past life and the destruction of Polish Jews and often difficult. This phenomenon is accompanied by constant controversy and conflicts. urban strategy Krzysztof Malicki. Ottoman concept. Jews. Memory and Forgetting in the Former Yugoslavia Monumentality and collective memory have not been neglected by discourses concerning national identity. this paper will look at what the foundation is of an amnesty law and what transitional justice mechanisms are adequate in the process of reconciliation in Macedonia related to the 2001 conflict? A number of related questions will follow.39 are: Typical modernization. The authentic significance of place can serve as base for design concept that can rescue the historic context and manage future favorable development in Skopje’s Bazaar. evaluated the significance of places from three aspects: I) Main Center that represents the origin of the Ottoman city. Urban policy to construct a new center and to modernize the public facilities without concern of the historic context that brought about loss of many historic buildings. each day. Elmina: Project Development Coordinator at the Cinema for Peace . As such. the authentic significance of road and place in Skopje’s historic area formed by the Ottoman urban strategy can still be recognized. The four amnestied cases have closed an important chapter in Macedonia’s history without a legal or an official non-legal process of establishing the facts. such as regional road network. railway network and other infrastructure. conservation. place significance. Secondly. the mechanisms of transitional justice and personal narratives in regards to a post-conflict society contributes to the understanding of the necessity to reckon with the past. we examined the formation and layout of Skopje’s historic center developed by the main principles of the Ottoman urban concept based on the Islamic religious law―Sharia. The different perceptions in the case of the Republic of Macedonia (Macedonia) when it comes to the 2001 conflict have an ethnocentric factor sidelining the importance of truth-telling and fact-finding where in 2011 the Parliamentary Assembly has amnestied four cases returned by the ICTY under the 11bis rule to be processed by the domestic courts. However. primarily from a personal narrative. Keywords: Skopje's Bazaar. communicative memory. is of vital importance. The intimate experiences provided through personal narratives brings the stories into a being and as such contributes to the opening of the much needed dialogue about the past and the 2001 conflict. even if the original buildings are lost. The actors of this debate face recurring questions: which elements of Polish communicative memory should become part of the cultural memory? What should we pass to future generations and what should we forget? What consequences for the Polish memory is opening up to the memory of another nation? Keywords: cutural memory. It is shaping continually. justice and peace as well as personal and public perception of individual experiences and crimes committed. mutual relations between Poles and Jews. The analysis. London School of Economics Non-Commemoration and the Nation The Politics of Identity. Institute of Sociology Between cultural memory and communicative memory – dilemmas of reconstruction of annihilated past of Polish Jews. insights favouring forgetting and counter-memory are considerably new approaches reconstructing identities and redressing tragedy . based on historical documents. In order to emphasize the importance of reckoning with the past and violations of human rights. transitional justice. Holocaust Kulasic. II) components of the Bazaar’s urban structure and III) periphery points of urbanization that indicate the edge of the city and give significance to the location of the center. The focus of both historical and contemporary stories of war. It accentuates the importance of the perception of war and peace. Keywords: Amnesty law. Despite two decades. the personal and public conceptualization of justice as well as the role of personal narratives. the signing of the Ohrid Framework Agreement and the enforcement of the amnesty law within the context of transitional justice. and individuals’ as well as societal approaches of coping and reckoning with the past is an inescapable part of the process of reconciliation and memory. especially when it comes to the 2001 conflict. what are the obstacles posed by amnesty law in this process? What about victims’ rights and their consent when it comes to amnesty law and reckoning with the past – their memory? And what mechanisms are acceptable and adequate to reckon with the crimes committed during the 2001 conflict? Its aim is to argue that a local approach through personal narratives. it is important to understand the interconnected whole and the different dimensions of such a whole from a narrative perspective. It will argue that in the case of Macedonia. by careful examination of the Ottoman urban concept. University of Rzeszow. reconciliation Kushinski Alysse. personal narratives. We concluded that today. The research will cover a brief history of the rise of nationalism which affected the inter-ethnic relations in Macedonia.Genocide Film Library Facing History and Themselves: Amnesty Law in the Republic of Macedonia The interrelation between the adaption of an amnesty law in a peace agreement during the negotiation process. personal narratives should be added as an important mechanism of transitional justice since a judicial approach is not feasible at this time.

as cultural memory of eugenics fades and mutates. even though it could be used in historical and cultural tourism to develop a region. kindness. represented on Stargate: Atlantis by a face as placid and friendly as Dr. a much beloved character primarily known in the series for affability. representational politics. Set in a space and time removed from the regular workings of dominant culture. I hope to demonstrate that the state is always present: That even through neglecting it – it is always referenced. Keywords: science fiction. identity and memory. strains of the will to build a better race recur in contemporary fiction and politics. Comparing these memories with the set of past images of the Soviet resort will reveal which features were forgotten. including terrorism. In the far-off universe of Stargate:Atlantis characters deal with a series of events which mirror on-going political problems in the real world. Mengele . but they can also be used as a means of masking histories and manipulating national narratives – this is seemingly the case in a number of post-war monuments throughout the former Yugoslavia. masked by new technologies. eugenics. this paper will examine the potential consequences of this manipulation of public space. Keywords: Kustritz Anne. Similarly. Frankenstein. the same shared image is evoked in almost any person’s mind from the former Soviet Union. religion and the use of cultural memory in a Catholic region from Romania The presentation analyzes the connection between religious traditions based on cultural memory and the official rites controlled by the church in a Catholic region of the eastern part of Romania. emotional attitudes Lehel Peti. However. fantasyscapes allow metaphorical versions of historical disasters and modern choices to unfold in ways which might otherwise be suppressed. Centre of Comparative History and Political Studies Memory About “The Bright Future”: Official Commemoration of vs Remembering the Soviet Resort The Soviet resort has a controversial place in the cultural memory of post Soviet society.” Increasingly. and a deep affection for his mother. The ethnographic material constitutes the local religious events appeared in the Catholic villages from this region after the death of an illegally ordained Franciscan priest and doctor. torture. Beckett?: The Repressed Eugenic Memories of Stargate: Atlantis In the present era. not just by identifying and treating the state as an actor. nuclear proliferation. Through a discussion of the way in which identities can strive to strategically avoid the state in the ‘non-commemoration’ of the nation and its inflicted traumas. Carson Beckett. as a model of “the bright future” and as the realization of Soviet utopia. race Kuznetsova Lyudmila. Moreover. Beckett’s. Perm State National Research University.40 after pronounced violence. were constructed as significant and monumental objects. contemporary speculative fiction on science and fantasy provide a vital window into the evolving cultural consensus about the morality and meaning of genetic manipulation and research. Keywords: Soviet resort. This paper will inspect what and how people remember about the Soviet resort today. that the framework of political sociology can operate. and cultural pluralism.. even though their importance could be promising for cultural tourism. University of Amsterdam Dr. but also by simply acknowledging the state as spectre. When someone says “Soviet resort”. Resorts. it would be essential to understand why and how local authorities deliberately avoid using the cultural memory about the utopian projects of Soviet imperia. A few images of the Soviet resort that were constructed during the Soviet past are still present in people’s memory. People’s memories will then be compared to official commemorations ordered by managers and authorities to reveal their emotional attitudes. How this image was created is an important question in this paper. Dr.. The interplay between cultural heritage. The Romanian Institute for Research on National Minorities Politics. in the opinion of the locals. Erecting monuments is often a strategy towards building and inciting public memory and defining the nation. museum and touristic policies in resort regions will be reviewed. They still occupy an important place in the physical and cultural space. utopia. they are often disregarded by local authorities and managers. redefine heritage and avoid the celebration of a painful past. effectively committing genocide. The tragic . By consolidating existing theories on nationalism. the works of Soviet mass culture will also be examined as they are supposed to have a strong influence on the Soviet resort’s image. and space is a huge component of national identity. Dr. Researcher. rapid advancements in genetic technology mirror the enlightenment-age scientific transitions which inspired Mary Shelley’s anxious probing of the human-Other divide and the moral meaning of human being’s manipulation of life itself in Frankenstein. However. was suspected to be executed by the Romanian secret service during socialism. commemoration. The key role in achieving this racial purification by means of genetic manipulation is performed by Dr.That such a character becomes the face of a genetic final solution for racial and cultural conflict represents one part of a recurring ideology I have elsewhere termed “Postmodern Eugenics. threatening to once again wreak terrible destruction from behind the facade of deliberate cultural and political forgetfulness. who. To analyze the commemoration strategy. memory. cultural tourism. especially in terms of the “fight” between two discourses: the discourse of freedom vs the discourse of control and education. the installation of monuments memorializing non-Yugoslav celebrities throughout the newly defined states serve as a means to reconstitute identity. perhaps the most profoundly disturbing plot centers around medical experimentation on political prisoners and the use of genetic research to eliminate Otherness. Looking at the national commemoration strategy.

Université libre de Bruxelles Remembering WWII collaboration in Belgium: effects on political position taking in the linguistic conflict Collaboration with the Nazi occupier during WWII has always been a topic of dissent between Walloons (French-speakers) and Flemings (Dutch-speakers) in Belgium. the act of recalling and dealing with the past is particularly controversial: What should be remembered. not only in historical terms. Most of the previously multicultural cities are now ethnically homogeneous. a possible success of this project would mean a second blessed for the Romanian Catholic church. and whose memories may be recalled? Can one deviate from the mainstream of accepted remembrance? In most societies it is possible to identify what has been referred to as a ‘master narrative’ of identity. A questionnaire survey (N = 521. we are all products of our experience. which determines both the accepted history of that society as well as values concerning what it means to be a (‘good’) member of that community today. local heroes and local events. University of Warsaw Place attachment and place memory: How to reduce ethnic bias in collective memory of places Due to the territorial changes in the post-war Eastern and Central Europe numerous cities located on these territories changed their state belonging and – consequently – their populations. also building officially controlled memorial places for him. although historical reality is much more nuanced. This is true at both individual and collective levels. including: (i) presence of urban reminders (history traces). post-conflict. These representations regularly resurface in political debates surrounding the Belgian linguistic conflict. Keywords: place memory. my presentation will deal with more personal scales such as cities or towns. Historical Ethnic Bias. The author argues that the beatification constitutes one of the most important project in the efforts for institutional consolidation of the Catholic church in Moldova after the Romanian system change. politics. Keywords: remembering and forgetting. His memory became the site of pilgrimage and collective healings. However. Difficult Present?: How Collective Memory and Personal Experience Shape Beliefs on Politico-Cultural Identity in Post-Conflict Societies Today In essence. religion. Living in the environment rich in historical traces. and interpretation of narratives containing the cultural memory of the priest. selection. and perception of their pre-war national composition. Mercy Aurélie. Walloon participants expressed more negative moral emotions towards collaborators (equally for W and F collaborators) than Flemish . De Guissmé Laura. (ii) socio-demographic factors (cultural capital). thus the positions we adopt today are influenced by what we remember (and forget) about our past. changed their state belonging and population. nationalism. edging along religiosity. as a story which we construct about who we are and what we have done. and the implications of difficult memories for narratives of present and future in such societies. Poland and Ukraine. Keywords: cultural memory. whereas Walloons bravely resisted. 315 W and 206 F) showed that collaboration was generally represented negatively and was morally condemned in both groups. It is indeed useful to perceive identity through such a narrative framework. being endowed with cultural capital. Particular attention will be given to how such processes function in post-traumatic settings. In this presentation I am going to focus on the phenomenon of ethnic bias in the memory of once multi-ethnic and now ethnically homogeneous places located in two countries. representing an active form of place attachment and strong place identity contributed to more accurate place memories. which. which sets the tone for what is acceptable within the collective. In contrast to these collective memory studies that usually focus on large place scales such as countries. James: University of Groningen Difficult Past. collaboration was widespread in Flanders. The studies carried out in several cities and on representative country samples revealed a powerful Ethnic Bias and a number of factors contributing to its reduction. processes which in turn impact on the way the individual perceives and relates to the master narrative and constructs the predominant features of their own identity. post-trauma. which is intended to establish the theoretical position of my larger research project. Yet there exists in most societies a proportion of people whose positions diverge from the master narrative. In the period of transition the Catholic church from the region started the beatification process of the martyr. ethnicity Lewicka Maria. The expropriation of the memory of the martyr priest is based on a well controlled process of collection. Faculty of Psychology. As a result of the post-war migrations and of the political censorship imposed by the communist regimes on memory of pre-war times. place identity Licata Laurent. memorial place Leigh. nationality and/or ethnicity. and (iii) type of people-place bonds: place attachment and place identity. narratives. In societies traumatised by conflict. Interest taken in the history of the place had a particularly positive impact on the open-minded and unbiased attitude towards the multicultural character of residence places.41 story of this political martyr became the base of a religious movement that activated the Catholic villages on masse. This paper. Demands for amnesty addressed by nationalist Flemish parties are a case in point. as a consequence of international agreements after WWII. place attachment. we observe at present a “collective amnesia” – unawareness of the cities’ pre-war history and a strong Historical Ethnic Bias – overestimation of the role of own nation in the history of residence places and neglect of the role of their previous inhabitants. According to a popular myth coined after the war and often narrated in the media and literature. will consider how such deviations amongst individuals in society could be explained by the various processes through which memory (both individual and collective) is formed and later recalled. but also in terms of beliefs on politics. This paper firstly takes the position that individual narratives are often shaped by the master narrative.

both sites embody a fraught struggle to monumentalize a national story – a monumentality never fully achieved.M. The symbol bearers as containers of a city’s collective memory will be explored through the perspective of four categories as proposed by Nas’ urban symbolic ecology concept: material. Discursive symbol bearers are concerned with urban images and narratives. Keywords: Linin Lea. to map the essential features of the field of memory and identity in which contemporary political processes are playing out. Here. Berlin Lori Amy. unleashed a city-wide controversy over plans to demolish the “Pyramid” – originally. in both groups. master plan. thus developing its identity/identities. we will focus on the controversy caused by the recent decision by the director of Berlin State Museums to move the Old Masters collection currently housed at Gemäldegalerie near Potsdamer Platz to Museum Island's Bodemuseum thereby dividing Berlin's art collection according to simplified. but not of Walloon. synthetizing. remake. Tirana. Edi Rama. the opposition Socialist Party (SP) leader and then-mayor of Tirana. as the city was trying to rethink. monuments. behavioural symbol bearers are considered to be activities such as rituals.. began a major reconstruction of the most important square in the historic city center. Nas defines the urban symbolic ecology as a concept that studies the cultural dimension of the city. museums. The UNESCO recognition came a decade after the fall of the Wall. Shortly thereafter. belonging to the pre-Skopje-2014 as well as the Skopje-2014 period. remarket itself as a global city. and critically examining the entirety of symbol bearers from the city. identification with Flanders was associated with a more positive collective memory of collaboration (serving Flanders’ interests). space and time. Museum Island has been for centuries one of the hearts of Berlin's memory culture. were les reluctant to support the granting of amnesty to WWII collaborators than Walloons. And. The exclusivity or the combination of specific symbol bearers constitutes the symbolic structure of a city. namely how symbols and rituals are distributed within the cultural milieu and what sort of meanings they bear in it. and to different perspectives towards the same historical representation. which I will use as a main theoretical reference point in this paper. finally. The myth is both shared and disputed. Skopje Lisiak. as if francophone collaboration was deemed irrelevant. Enver Hoxha. In contrast. After examining the contemporary and historical contexts of Museum Island's master plan. iconic and behavioural. The term ‘urban symbolic ecology’ is one of the fundamental concepts in the field of urban anthropology. both levels of identification were associated with more negative memories among Walloons. Iconic symbolic bearers are associated with people representing cities. and. Keywords: urban symbolic ecology. especially high Flemish identifiers and supporters of right-wing parties. Skanderbeg Square. Among Flemings. this paper entitled The Urban Symbolic Ecology of Skopje: What Kinds of Identity Narrative Lines Do Skopje’s Symbol Bearers Produce? will focus on identifying. and the Battle for Control of the Public Sphere in Albania This paper uses two recent and highly controversial construction projects in Albania’s capital city. collaborators. statues. Keywords: cultural memory. in our view. nature. Georgia Southern University Collective Memory. symbol bearer. Interestingly. University of Arts in Belgrade / Université Lumière Lyon 2 The Urban Symbolic Ecology of Skopje: What Kinds of Identity Narrative Lines Do Skopje’s Symbol Bearers Produce? Inspired by the recent rapid transformation of Skopje through the urban project Skopje 2014 and the consequent influx of new symbol bearers in the urban landscape of the city. eventually. in the first instance. notions of space and time. In his book entitled Cities Full of Symbols: A Theory of Urban Space and Culture.42 participants. And Flemings. Peter J. in light of the city's post-1989 urban marketing practices. which we situate in a larger cultural memory context. a memorial and museum for the Communist Dictator. We will give a brief historical account of the development of Museum Island with an eye towards narratives and then move on to present cultural and political repercussions of Museum Island's new master plan. Agata A. in any case. Dolgoy Rebecca Clare: Humboldt University Berlin / ECLA of Bard The Master Plan and Cultural Memory: The Case of Berlin's Museum Island Bolstered by its 1999 entry into the list of UNESCO World Heritage Sites. We argue that this strategy to create a linear and geographically essentialist narrative of Berlin's collections may be seen. Material symbol bearers relate to the material objects of symbolic value within a city (architecture. support for amnesty was predicted by judgments of morality of Flemish. Unravelling a set of city identities. whereas identification with Belgium was associated with a more critical representation of it (more immoral and severe). Our paper offers a reading that seeks to understand the current (re)turn towards the master plan. As highly charged symbols of contested national identity. etc. short-lived. we will discuss some of the controversies surrounding Museum Island's architecture and collections including their cultural and political dimensions. identity. is yet another attempt to (re)create and (re)shape Berlin's cultural memory and image. festivals and demonstrations. National Identity. In 2010. In our paper. this paper will also expose the reasons behind the precedence of specific symbol bearers and identities over others. Results suggest that differences between F and W in political position taking regarding the granting of amnesty are partly due to differences in collective memories of collaboration.). Josefina Topalli. we look at the role of Museum Island in (re)creating Berlin's post-1989 image and its urban constellations of space and time. discursive. and testifying as much as anything else to the fragmentary and embattled nature of national memory . Democratic Party (DP) Prime Minister Sali Berisha and Chair of the Parliament. city identity.

i 1907. war damage. Serbia The Interplay of Museum Discourse and Popular Culture: How. and problems of museum discourse will be analized through the case study of American Museum of Natural History in New York. Such privileged status of a museum will be argued and contested. Hazdovac Bajić Nikolina: Institut društvenih znanosti Ivo Pilar Dubrovačka kulturna memorija – promjene kroz prostore i vremena Pravila ponašanja prema spomenicima kulture nacionalnog i svjetskog značenja postavljene su haškim konvencijama iz 1899.. heroic people.migracija i emigracija stanovništva. both positions require a selective remembering – and a corollary strategic “forgetting” – that obscure the much more complex experiences and memories of the regime and the ongoing conflicts within and amongst groups with different experiences and memories of that past. Showing. prvi dio rada dat će njihov usporedni pregled. film. Keywords: museum discourse. Upisivanje ratnih događanja u kulturnu memoriju daje novu dimenziju poslijeratnom Dubrovniku koji pliva u bujici neoliberalnih tranzicijskih procesa . Olick 2011). University in Belgrade. Macquarie University. more effective media are involved in those processes. e. for the SP. historiografija u širem smislu). Budući da ratne štete iz 1806. Špoljar Vržina Sanja. kao i sve pravilnike za provedbu Konvencije za zaštitu spomenika kulturnih dobara u slučaju oružanog sukoba. Jugoslavija je 18. this means that any signification of pre-transition communist party allegiance must be erased. the movie Night at the Museum seems to be an adequate example for the analysis of the interplay of museum discourse and popular culture and its role in the shaping of cultural memory. depopulaciji centra grada i divljem neoliberalnom turizmu. objective. this paper analyzes political battles for control of the public sphere in terms of these memory contests. perceiving people and events through an idealistic memory to satisfy their perception of ‘great’. which will be examined in the paper as such a medium. the movie Night at the Museum (2006) and museum’s current internet presentation. kolektivna memorija stanovništva) do literarnih (književna djela. kojem god narodu ona pripadala./19. either about our own or somebody else’s past or present. Nevertheless. When and Where History Comes Alive? Museum as an institution has been. ratificirala spomenute konvencije. i paktom potpisanim 1935. It is a place to visit if you want to find the truth. popular culture. writers such as Hemingway. national identity. Ratna zbivanja dovode do vakuuma u manifestacijama kulturne memorije i destrukcije kulturnih formi. inevitably connected with ideology. Australia Remembering Hemingway: The Endurance of the Hemingway Myth Consumers of culture can often view history subjectively. Ključne riječi: Dubrovnik. Night at the Museum Lupis Vinicije B. In both cases. We are going to follow and question narratives and stereotypes that are recognizable in this museum’s discourse and in other discourses with which museum discourse interacts (politics. prosinca 1955. throughout history. Irwin-Zarecka 1994. te Protokola o zaštiti kulturnih dobara u slučaju oružanog sukoba. the proposed construction projects were attempts by political parties to impose a version of the past that legitimates party identity and silences/obliterates counter-memories that destabilize post-communist political party identity narratives. collective identities. anti-communist Lukić Mina. F. cultural memory Lyons Siobhan. based on scientific knowledge and interpretation of the past. Following recent work on collective memory (Rothberg 2009. Nowadays. Život nakon rata odvija se na ruševinama. links to communist-era crimes and human rights violations must be repressed. godine u Washingtonu. Emile Zola and Ford Maddox Ford (often called the Lost Generation) were able to carefully manipulate their audience through their writing and the romantic image that was circulated by the public. James Joyce. While the country remains locked in these communist – anticommunist polarizations. i 1991. Museum is seen as trustworthy. For the DP. With the advent of newer media technologies in the twentieth century.g. Rad će u svom drugom dijelu dati pregled dubrovačke kolektivne memorije kroz njezine manifestne oblike: rituale vezane uz posebne prilike. kao što su spomenici koji funkcioniraju kao lokacije memorije i vremenski simboli. The idealised way in which authors were viewed is reminiscent of the period of Romanticism. cultural heritage. involved in establishing and shaping of cultural memory and creation and affirmation of collective identities. popular culture). Sydney. Connerton 2011. polemike. in which authors Jean-Jacques .od usmenih (osobna sjećanja. The image of American writer Ernest Hemingway was partly created by favourable media imagery and celebrity culture./1992. unbiased. other. Drevne zidine. 2009). Dubrovačko kulturno pamćenje ucijepljeno je u različite tipove diskursa . Considering the fact that museum officials have credited the film for increasing the number of visitors by almost 20% and that a sequel followed (Night at the Museum: Battle of the Smithsonian. post-communist. museums have been used for spreading different prejudices and stereotypes – some of our identities are often based on such prejudices. Države potpisnice Konvencije činom potpisivanja potvrđuju svjesnost o tome da su štete nanesene kulturnim dobrima. Faculty of Phylosophy. burna i slavna prošlost ono su na čemu se temelji identitet grada i njegova ekonomija kroz turizam. devastaciji prirodnih ljepota okolice. Kulturna memorija upisana je u identitet Dubrovnika možda više nego bilo kojeg drugog grada u Hrvatskoj. museum as an institution has an aura of highest authority. festivale i posebna mjesta. Scott Fitzgerald.43 and identity. based on scientific knowledge and legitimized by museum collections. Critical analysis of this museum’s discourse will be based on three sources: the text of Mieke Bal „Telling. u stanju kulturne opustošenosti i nesigurnosti. American Museum of Natural History. collective memory. Also. memoaristika. and. štete kulturnom naslijeđu cijelog čovječanstva jer da svaki narod daje svoj doprinos svjetskoj kulturi. Gertrude Stein. pokazuju veliku podudarnost. Keywords: Albania. Ratovi zatiru kulturnu memoriju i dovode do kulturocida. Showing off“ where she discussed museum’s permanent exhibition in 1991.

This anthology composed by Hungarian mangas. This paper will argue that in the field of literature. North American and European style iconotexts – various types of mediatization in the global culture of comics. Ss. Keywords: antiquisation. political and culture analysts. power has referred to . Serbia and Kosovo. Republic of Macedonia Cultural Memory and Competing Origin Myths in Spatial Representations In the last two decades. in public and private universities and media. The currently evolving institutional system. moreover. By existing in an overwhelmingly artistic industry. These great versions are overlap and interpenetrate one another. Churches. in which various attributes and details about the author were exaggerated to fuel Hemingway’s image. Hemingway’s own works. Keywords: media. Hungary Mediatized Memory in the Comics Cultures. so fervently denied by its neighbors (Greece being. Mother Theresa. Kalina: “Blaze Koneski” Faculty of Philology. These processes work through the means of recognition. in all its extravagance. A comics competition was organized and the winners published the comic book Mátyás. This project. has endured well into the twenty-first century. Cyril and Methodius University – Skopje Memory of Power Transformed This essay is focused on the phenomenon of power.” This paper aims to examine and understand some of the processes of King Matthias’s meditization in contemporary Hungarian comics. also known and criticized as Antiquisation. Memory. is equally artistic. whose legacy has contributed to the present understanding of that notion. the French-Belgian bande dessinée and the North American comics. This paper will examine the progress and transformation of the Hemingway Myth. by creating a monumental statue of Alexander the Great. University of Pécs. While many proponents. and Allen’s film. King Matthias Maleska. romantic gentleman. the Ministry of Education and Culture organized a cultural season called ’Year of Renaissance –2008’.. Keywords: Hemingway. The mediativity of these versions of the comic media participate at the construction (or reinterpretation) of the figure of Matthias who plays traditionally an emblematic role in the Hungarian popular culture and collective memory: “Matthias the Just. this project has radically changed the face of the city. celebrity authors are particularly benefiting from the flattering outcome of cultural memory. a király The comic media exists in different versions. Celebrity Maja Muhić. rather create an atmosphere of a confusion of identities and blended. Tetovo. his father Philip II and his mother Olimpia of Epirus. One of the major focuses of this paper will not so much be the “name question” as much as it will be its reification through the on-going realization of an architectural and heavily ideological project in Skopje. only later to be ‘confirmed’ in his appearances in TIME magazine. facilitated the romanticised manner in which he was received by his public. Saint Methodius. new foreign ministry. the region of Southeast Europe –not only the Western Balkans – has been marked by a politics based on the pronounced primacy of the issue of national identity over other socio-political questions. in which figures such as writers and artists are particularly enamoured by their public. to this very day. grievance. We can see how transcultural flows create and form comic cultures as media cultures. manga. and museums. prompts one to see the collision of national grievances that produced it in the first place and that still resonate around it. It is on the hand an expression of a multitude of grievances and silent moans of Macedonians that finally found their reification and palpability in the Skopje 2014 project. in Macedonia but also in the neighboring Greece. Skopje is currently is in the process of an intense urban reshaping and remodeling created through a project called Skopje 2014.44 Rousseau and Lord Byron were revered as geniuses. and how it countered with the man himself. Artistic production. social use and practices of the Hungarian comics are vastly influenced by the main types of global culture of this media: the oriental style comics. The Case of the Mátyás. Ample evidence in terms of material culture and recorded public discourse supports the claim that the question of national identity determines the course of politics. dubbed The warrior on a horse. etc. the Hemingway Myth. the Byzantine Emperor Justinian I. Traditionally. Special attention is paid to the past understanding. nation myth-building. So far. and how it has been understood throughout history by various philosophers. Hungary. including the Museum of Macedonian Struggle and of the Victims of Communism. National identity as an issue per se entails material cultural and academic processes aiming at the construction and fixing of an idea and a sense of a collective. glitter and kitsch. Romanticism. research and explanation of what power is. Cultural memory is especially fostered through literature and film. including the Macedonian government argue that this project forges the Macedonian identity. It has celebrated the anniversary of King Matthias Corvinus who came to the throne of Hungary 550 years ago. Paris. the capital of the Republic of Macedonia. bridges. With Woody Allen’s film Midnight in Paris (2011). comics. enriches and perpetuates the representation of the national self. In Hungary. a király (Matthias the King). Faculty of Languages. transhistoric utopia Maksa Gyula. academic re-creation of the national truth and reproduction of the cultural symbolic (essentially patriarchal) in the fields of humanities are at work in the institutions of the state. such as Alexander the Great. mediatization. yet confused memories. Myth. at least 50 additional sculptures. and Communications at the South East European University. along with the 2012 film Hemingway and Gellhorn. anthropologists. Bulgaria. figures of early Christianity: Saint Cyril. Cultures. constitutional court. but one example). characteristic genres. Department of Communication and Media Studies. where the reality was quite different. legitimization and symbolic production that maintains. the building of a mish-mash of historical characters. nationally and internationally. a triumphal arch. aid this image of Hemingway as a passionate. as well as a league of freedom fighters for Macedonia’s independence. it is no surprise that the memory many of these writers leave behind.

namely. for understanding the postcommunist and postcolonial world. however. Therefore. Keywords: marginalisation. Morocco. Thanks to the imagerecord. some of which are: how does the past understanding of power determine how it is accepted and interpreted in the present? How is the success of the present efforts and strives affected by the memory of power? The essay attempts to shows that the memory of the notion of power is not and cannot be fixed and given once and for all. The social and political relations had been reversed – Poles seen as “colonialists” had become colonized. University of Warsaw Multidimensional memory of the lost land in the postsocialist reality. In the example of Kresy one can find many aspects of specific postcommunist situation: memory of hegemony together with the memory of being under domination. the visual rhetoric of a single image becomes a way to critically reconsider the ideas of self-sacrifice as cultural pattern. University of Gent (Belgium) -Department of Philosophy and Moral Sciences The Light and Heat of Images: Mediated Memories. Cultural Patterns and Politics of Self-Sacrifice According to sociologist Michael Biggs. Thus. etc. territory. Michael Biggs Markoska Marta. influence. literature Małgorzata Głowacka-Grajper. influence. which show how we may “forget” what we know about this phenomenon. it was a short period and this memory soon has became marginalized in public life. and if we do not remember the collective and individual (un)happiness. has led me to the realization that the notion of power is understood on somewhat different terms in literature and literary theory and criticism in comparison to how it is explained in philosophy and the social sciences. postcommunism. many of them have been resettled to new Polish state and nowadays about 5 millions of their descendant live in Poland. we had to deal with the "explosion" of memory connected with Kresy. when taking a philosophical viewpoint. It was famously memorized and made public in a series of photographs by the Associated Press photojournalist Malcolm Browne. Tunisia. However. Perspectives. The example of former Polish Eastern Borderlands (Kresy) Social memory as a place of creation of visions of the group past. the historical impact of self-immolation can be traced back to a single yet relatively recent case: the fiery self-sacrifice of Thich Quang Duc on 11 June 1963 in Saigon. Due to “the advent of photography – and technologies for the rapid transmission and cheap reproduction of images – it [became] possible for a single sacrifice to have a dramatic impact on a huge audience” (Biggs 2005). After World War II. past. the literary examples provided (by Vlada Urosevic. self-immolation. social memory. memory is part of the cognitive processes. this question is highly hypothetical and since we do not want to leave an impression of metaphysical quackery. resistance.45 authority. from a medical point of view. this essay examines many questions concerning this phenomenon. foundational manner for any discursive analysis of the subject at hand). This paper takes as its point of departure Browne’s photograph as “the progenitor of the great majority of these acts. Keywords: power. If it is not necessary to rely on memory. South Vietnam. Greece. University Ss. Poles in these areas over the years formed a community. in my opinion. Keywords: mediated cultural pattern. control. Institute for Macedonian Literature Cultural Memory – Observations. including almost every case in which fire was used in the four decades since 1963” (in Biggs’ own terms and understood in a constitutive. visual rhetoric. Italy. In order to contribute to the broader understanding of power from literary point of view. and after the beginning of democratic changes in Poland. Modern physics. which identity was based on relationship with the territory. Over a period of communism. John Fowles. and Spain) attempt to assess specific social events and situations in a culturally specific way: through a transnational political and media paradigm symptomatic of our times. will we be able to anticipate the human good and evil? Naturally. The research of literary works. In his paper I will focus on the question: how these changes in socio-cultural environment and in the attitude of the Polish state affected the way of defining traditions of Kresy and the place of memory of it in political and public life in Poland. Cyril and Methodius. And above all – fear of being accused of hostile nationalism together with the desire for preserve the “glorious” past which is hard to define precisely – important aspect. old ethnic and religious tradition together with new established political domain. Institute of Sociology. by virtue of which contemporary civic protests around the world (including Tibet. individual experiences of its members and the ties connecting them to each other and to the territory become the cultural construct. we will immediately dispute the possibility of lack of memory. I will try to define character of this cultural construct on the example of memory of the former Polish Eastern Borderlands (Kresy). However. ‘giving oneself’ for a collective cause by re-enacting the forms of ‘communicative suffering’ through cultural memory rooted in visual rhetoric of suicidal protests. biochemistry and molecular biology have demonstrated that water has a memory that can exist as a record in .) display how the definitions of power given in the past are transformed and transfigured by present literary works. the memory of the Polish Kresy was successfully pushed to the margins of social and political life. and define it from a new perspective. the question that arises is whether human memory equally represents a source of all human good or all human evil. which should particularly draw anthropologists attention. this unique protest-event “inspired people elsewhere to sacrifice themselves” for a collective rather than exclusively individual cause. tradition Marko Stamenkovic. unlike any previous case of the same kind. the first question we need to ask ourselves is whether memory is a construct/construction?” Undoubtedly. Visions When talking about Cultural memory.

To do this. The philosophical approach to this issue in the text will trigger many questions. When talking about memory. such as: ‘Do we remember only what we want to remember and. bearing in mind its characteristics. because nothing. Ceaucescu’s Romanian dictatorship. second. i. emotional. a space that. invokes kindred emotion in the reader. it is shaped and defined by all the cognitive. URJC Cultural memory about the sorrow in the advertising after the terrorists attacks. especially since it depends on the perspective of interpretation we want to move towards. a presentation of the concept of nostalgia and the sub-concept of nostophobia. when some aspect of human life is marked as cultural memory. Department of Arts and Cultural Studies. i. this paper wants to describe history text books as the result of political and societal negotiations undertaken to reconstruct the past and to create historical identity in the present. memory can be conceived as the result of negotiations of the past which need to be transmitted and passed on from generation to generation. religious. a general discussion of the way literature.) and 04/11/2004 (Spain). ‘Is memory. affect studies. The general objective of this research study is to do a comparative research to investigate the perception of sorrow in the advertising in the press after the terrorist attacks: 9/11/2001 (U. Joseph Roth. Hence. to the understanding across different processes. analyzing history text books offers the possibility to get a glimpse at those versions of the past deemed to be worthy of savouring and remembering. Herta Müller. that is cultural memory and affect studies. following a very political vision upon collective memory. mental and spiritual conditions affect our construction of memory because memory is neither immune nor resistant to the process of understanding. If we oppose these findings by wanting to know what affects the construction of cultural memory. it contains a complexity of ethnic. reflexes. selective and exclusive or cohesive?’. A specific objective would be to investigate whether the presence of messages and symbols in this commercial advertisements specific of each culture and common . Following Stuart Hall and his concept of representation. as well as how we personally and individually experience it. What I propose is analyzing what Sianne Ngai would call the “tone” of these novels to find out how they interpret the remembered home. in order to explain the ‘collective’.e. we will split the term cultural memory into individual and collective cultural memory. educational. Through readings of novels by Joseph Roth and Herta Müller I will demonstrate how memory of one’s homeland essentially leans towards either the bitter-sweet longing of nostalgia or the disgusted and repulsed rejection of nostophobia.S. social. not even the cultural memory exists outside of it. nostophobia. nostalgia. Martinez Pastor Esther. What does the adult generation want younger ones to remember when it comes to the past.e. we must first explain the ‘individual’. Studying memory discourses through the lense of affect studies will give us a better idea of how literature works as a medium of memory that is essential to our understanding and interpretation of the past. by way of the particular tone and focus of the text. When something is perceived. then the answer could either be infinite or may be summarized in one word – everything! All our day to day perceptions. it is important to take into account physical time. In this respect. it would be most helpful to add the time factor to all kinds of understanding. Both modes of memory focus on certain aspects while leaving out others.46 microscopic insights. and intellectual capacities of each individual. Nevertheless. I will divide my paper into three parts: First. all our moods. that the novels describe: For Roth. and they are both dependent on a specific historical situation as well as they are literary strategies for shaping this situation. several questions arise: Which versions of the past come in handy when societies need to be reshaped in general but also especially in times of transition? Useful insight might be given focussing on the Austrian post-war case study: How did Austrian text books try to come to terms with such a dreadful history as the involvement in the criminal perpetrator society of the Third Reich after the liberation of the country? Which aspects of said past is meant to be an identificatory resource for the pupils and future citizens. habits. literature. One might say that the novels serve as the “space” for the affective experience of the reader. memory and affect intervene. These modes of memory are colored by a set of emotions that call for a combination of two academic trends that are very much in vogue. do we forget what we want to forget?’. ‘Is/Why (is) memory necessary’? Keywords: Markova. what meaning do they want do allocate to history? In this respect. Thus. Keywords: Cultural memory. and third. University of Copenhagen Nostalgia as Cultural Memory This paper discusses nostalgia and what I will call “nostophobia” as emotions and as modes of cultural memory. However. time as all other categories is relative. a short reading of the emotional tones of Roth and Müller. To avoid misunderstanding. consequently. what are the blind spots in this reconstruction of history? What are the intentions and political strategies of the “agents of memoria” when negotiating and putting onto paper the final outline of national history? Keywords: Politics of Memory/Identity/Coming to Terms with the Past/History Text Books/Austria Martin Baake-Hansen. national. qualities and attributes. and finally. Ina: University of Vienna Politics of Memory/Identity/Coming to Terms with the Past/History Text Books/Austria Negotiated Memory:History Text Books as (Re-)Sources of National Identity and Useful Visions of the Past Cultural memory is shaped under the influence of socio-political and very often antagonistic processes. and personal. and. individual characteristics that are intertwined and their separate consideration will not produce reliable results. the Habsburg Empire and for Müller.

oriented social action? Keywords: Hungary (1945-49).47 to both. University J.. in relation to the past. especially black and white entertainment and movies. ideology and memory After the end of communism. some old programs. Keywords: Máté Zombory. The general hypothesis considers that there are similar perceptions of the sorrow towards the ads although there are cultural differences. we have the only principal of “preserving everything”. reflections on the past. The development of these features of today's dominant regime of historicity are closely tied to the social history of the memory of the Holocaust. Romanian Tv open and hidden memories history of European television. Ceausescu's regime. 2. 3. rather than the facilitator. Country were filled completely during 18th Century migrations who were mostly from Bosnia and Herzegovina. The results of this research can also be used in the investigation help in the research to identify elements common and universal to the sorrow and suffering in the advertising. This hidden history is maybe more important than what written documents reveal to us. Spiru Haret University. Romanian National Television (TVR) resumed. “preserving everything” and “duty to remember”. national and regional memory practices. reconciliation and peace-building. Croatia Forgotten origins. Their answers.Elaboration of the categories and data analysis and 4. Institute of Sociology at the Academy of Sciences The duty of social reconstruction. we no longer have the normative principals according to which we could select from the past that is worth remembering. where we can find today the shape of the socialist Romanian society. It is designed to promote healing. intellectuals Matei Alexandru. The first is described by the concepts of “archiving”. to take part in this research and participate in the interviews. "duty to remember". Strossmayer Osijek. during Great Vienna War. by the end of the 90ies. be it in the political or in the academic field. It seems to us that the historical value of visual documents is higher within what we call social broadcasts. This new field of action can be characterized. Identify and obtain literature about this goal in the U. With Army in Slavonia migrate around 80 % Bosnian Catholics or Croats and settled into Slavonia and Southern Hungary. Second I will elaborate its critique through the analysis of the Hungarian early post-war (1945-449) intellectual and journalistic reflections on the recent past. “patrimonializing”. On a computer program the subject was shown these images about announcement advertisement published in the press after the 09/11 and 11/04 in a random order and was asked different questions that explored their perception and attitudes with regard to these advertisements. The Authors also compare cultural heritage of both groups. postcommunism.Comparison with data obtained in Spain. rushed with their Army into Bosnia. postcommunism. Keywords: Matanović Damir. ideology and memory Maura Maginn. In my paper I will first reconstruct the global space of memory politics according to these normative prescriptions. Second moment is more contemporary and concerns economic or war related migrations from Bosnia and Herzegovina to Slavonia. On the 50th anniversary. This form of story telling with individuals and with diverse groups has led to a . Diversity Challenges Northern Ireland Cultural Memory and Identity: Story Telling According to Ethical Principles in Northern Ireland Story Telling According to Ethical Principles has been developed in Northern Ireland as a way to express cultural memory in ‘a safe space’. were registered on a data-base for subsequent análisis: 1. Instead. Identify a sample of young American university students (male and female. as TVR felt free to scatter. The method is governed by a set of ethical principles guided by the core aim of ‘beneficence – doing good’ based on respect and safeguards. It places the story teller as the prime beneficiary and as the person in control of the process. through the computer keyboard. by war. The slogan of “Never again!” has its ground in avoiding history to repeat itself. called Slavonia. but this happened very late at night. among others. TVR also resumed some old documentaries. aged 19 to 22). Ceausescu's regime. called “duty to remember”. social and economic investigations. burned Sarajevo and pull back into Slavonia. They were first Inhabitants in this. or “musealizing” denote: because of the uncertainties about the future. by its dominating normative prescriptions for social action. Migrations from Bosnia and Herzegovina to Eastern Croatia during late 17th and 18th Century and position of Bosnians Immigrants in Eastern Croatia today The authors write about two situations in history of Bosnia and Herzegovina and Eastern Croatia. Bucharest The right to laugh in postcommunism. Can we speak of a duty to remember in this case? What were the main discourses on Hungary's role during the war before the formulation of the concepts of Holocaust and genocide? What normative prescriptions. Reflections on the past in early post-war Hungary One important development of social memory recently is the emergence of a global space of memory which serves as context for local. Ivančica Marković.S. Using comparative method they write about moment when 1697th Prinz Eugen de Savoya. The authors analize relations between domestic and newcomers or between those who migrate in 17th and 18th Century and those who migrate in 20th an 21st Century. public discourses. and shows us the unsuspected continuities between two epochs Keywords: history of European television.J. individuals and societies have to commemorate past events so that they can never reappear again. depopulated Country. in 2006. newsreel. According to the second imperative.

We agree with their critique of the traditional concepts of return and home with respect to some refugee groups (young. the looming generational change among the population of former evacuees. but it is a collection of social relations and cultural meanings (Bradley. and participate in their travels and rituals of commemoration. their culture . can become a divisive force. Keywords: Mesić. and Latvian history. depending on the one hand on their personal experiences and memories. Refugee return is traditionally perceived as one-directional and single act. however.their way of life and the experience of ‘home’. refugees or returnees whose socio-economic characteristics are indeed traditional (elderly. 2008). It has been also revealed that the terms “home” and return to home do not always have the same meaning for the refugees themselves. Memorialization of Karelia received a new lease of life in the 1990s. Faculty of Humanities and Social Sciences. Many have found a voice to speak of their experiences. 2002). cultural heritage . which encouraged former evacuees to visit their old homes . performance. the end of the Cold War and the opening of the Finno-Russian border. national and welfare. helped by propitious circumstances: first. ‘behaviour’ of the latter is closer to the traditional concepts of return to homes. especially in an ethnically diverse society with a history of several wars. including the impact of the conflict on their lives. and building an over-arching civic national identity – based on respect for country’s institutions and laws – might help to overcome grievances. however. Using data on youth in Latvia collected as part of the MYPLACE research project. exclusionism and xenophobia in an ethnically diverse society One of the top priorities in Latvia recently defined by the government is preserving the national identity – culture. leading to a more inclusive and less discrimi Keywords: history. My current work focuses on two specific practices of memorialization: collecting and displaying memorabilia in vernacular museums. The concepts of ‘home’ and ‘homeland’ in the context of refugees were attacked from the socioconstructionist (or deconstructionist) perspective (Allen and Morsnik. home. (post)modern perspectives. 2011). ceded Karelia. Yet. the growing interest in oral history and experiential research in Finland and elsewhere. Evoking both affect and agency. There are.48 reconciliation with the past. We conclude that even though remembering history and preserving national language and identity is important. return. They have also found the confidence to share their stories with others.often for a first time. and on the other on their (pre)modern or (post)modern social values and orientations. returnees. mass deportations. on the other hand. As notable examples of what Raphael Samuel called living history. and staging and participating in historical re-enactments. and Soviet occupation.as 'beings of place’ (Eliade. They have also shared stories of their culture and identity with those from differing sides of the conflict. as it fuels internal and external exclusionism. 199. exclusionism. Black. both physically and socially (Ranger 1994). including their children and grand children. they serve as powerful conduits of collective memory. Keywords: refugees. Nevertheless. communist occupation and regaining independence in 1991 – can facilitate the development of ethnic nationalism. University of Zagreb Refugees and Returnees: memories of home – pre-modern and post-modern perspectives Migration study inherited from traditional anthropology an essentialist approach to relation of humans and the space . it seems that some (Western) post-modern scholars forget that their concepts of fluid social-spatial relations cannot be automatically applied to (pre)modern societies . Keywords: Finland.on the Russian side. (pre)modern. rural people). Among other things. Mierina Inta. University of Technology Sydney / Nottingham-Trent University Finland’s ‘evacuee children’: strengthening communal bonds through vernacular memorialization This paper is about the commemorative strategies of Karelian Finns. that returnees often find their previous homes greatly different and changed. these practices seek to provide a connection with the ‘roots’ based on sensory experience. second. national identity. commemoration. recent scientific evidence suggests that some forms of nationalism can have very negative consequences. So far eluding the danger of becoming trivialized or commercialized. reduce support for populist right-wing parties. in some contexts placing an increased emphasis on certain historical events and fuelling ethnic nationalism can be counter-productive. It is based on two field trips to Finland and Russia conducted in 2010 and 2012 respectively. they are particularly effective in strengthening communal bonds in the face of the ‘flattening’ effects of globalization. Instead. Department of Sociology. we explore whether a strong and vivid memory of recent national history – particularly the WW II. urban people). and third. during which I was allowed to enter the intimate worlds of former evacuees. 2002). The right of refugees to return to their ‘homes of origin’ received huge support from the international community. it has resulted in calls for teaching children patriotism and increasing the number of Latvian history classes in schools. This form of storytelling represents a method of learning about the past and sharing cultural memory with the aim of building a better future. Recent studies of return including our (Mesić and Bagić. educated.or what was left thereof . youth Mikula Maja. memories. Ethnic nationalism. such as Latvia. University of Warsaw Historical memory as a divisive force? National identity. and lessen social rifts and ethnic tensions within the country. xenophobia. According to the insights we gained through our representative quantitative and qualitative field research on Serb returnees to Croatia (Mesić and Bagić. who had been displaced as children from the territory Finland ceded to the Soviet Union in the aftermath of World War II. focusing on the present and the future. Critics of the traditional vision of home have emphasized that home is not just a physical place. national and welfare chauvinism. Milan. Stalin’s purges and mass deportations. 2011) suggest. chauvinism. language. which demanded that significant traditions be reinvigorated and passed from the ‘silent generation’ to the ‘baby boomers’ and their children. their memories.

Keywords: sites of memory. I believe the relationship between Self and the Other in also an essential part of the folklore concerning the Turks. use these objects to recreate a past. Some of them. Folklore was not immune to these ideas and the image of “the Turk” became an important part of Slovene oral tradition. whether these be real or imagined. usable pasts/mythology. thus forging and reinforcing a Yugoslav identity that transcended the many particularist national identities (Serbs. or coffee shop "Des Arts" in Sombor. communicative and cultural memory Milosavljevic-Ault. or present them as found objects. the object of fear and a personification of savagery and disorder. Angelina: Faculty of Media and Communications. In particular. the Slavicist Andrew Wachtel considers how the intellectual arbiters of “Yugoslavism” strove to instill the diverse south Slavic peoples with a “horizontal sense of belonging to a single nation” (21). their huge knowledge of the past is based in their collecting practices and interests. Slovenia) The Image of “The Turk” in Slovene Folklore The time of Turkish invasions on the territory of Slovenia left a deep mark in Slovene collective memory. School of Fine Art. the latter came to represent the Other. customs. Such initiatives in translation are important ways of reworking the past. and they tend to document and classify the objects of their possession.49 Miller Paul. or coffee shop "Wonder" in Belgrade. my paper illuminates the successes and ultimate failure of cultural unity among the South Slavs. History of Art Bunker Conversion and the Overcoming of Siege Mentalities. museums of memory. McDaniel College (USA Yugoslav Eulogies: The Footprints of Gavrilo Princip My paper examines the memory of the Sarajevo assassination in Yugoslavia and the former Yugoslavia. Identity Morgan. by seeking to create a unifying “Yugoslav” culture out their separate yet sometimes intertwining histories. history. the indispensable ingredients of any national project (or in Benedict Anderson’s inimitable idiom: “imagined community”)—common language. ludic activity and everyday use. They usually acquire the objects they collect at flea markets. Even if World War I were crucial to shaping the ultimate outcome of the struggle for south Slavic statehood. Slovenes. Could the Sarajevo assassination serve as a common cultural thread for the forging of a single south Slavic—Yugoslav—people? How did Yugoslav leaders reconcile the horrors of World War I with their mythologization of the murder (and murderers) that provoked it? In exploring the nature and evolution of the memory of the Sarajevo assassination in the various iterations of Yugoslavia (and post-Yugoslavia) across the entire last century. Diane: University of Leeds. Due to the nature of historical interactions that people in the territory of Slovenia had with the Turks. Breaking a Nation (Stanford. usually those with similar sensibilities. The question arises how the actual historical accounts of Turkish invasions left a trace in Slovene collective memory and how (or rather if) this can be compared with the image of “the Turk” found in Slovene folklore. personal narratives Mlakar. usually with nostalgia for an "ideal". University of Ljubljana. Bosnian Muslims. all of these collectors share the same qualities of character: they are eager collectors. We would like to present several private collectors active in Serbia – artists and private entrepreneurs – whose practices of collecting and display reflect both their interests in heritage and their need to present objects in their possession to wider public.) in the new state. Singidunum University. regardless of their tendencies to create narratives about private and local histories in terms of nostalgia. reminding us that nations and nationalities fundamentally flourish or fail as cultural artifacts rather than political acts. commemoration/ceremony. the private entrepreneurs. They are indicators of a defensive attitude and a siege mentality. where such constructions have undergone a process of cultural transformation which has converted them into places of creative experimentation. In his book Making a Nation. Folklore texts will be analyzed in order to determine the ways in which the Turks are depicted in folklore. Bunkers are concrete responses to threats.—are. turning these into artworks. I will try to determine how this localization and materialization of folklore is used to mark our spatial boundaries and construct our sense of place and identity. University of Birmingham (UK). etc. Croats. entrepreneurs as collectors. This sort of image also presents a negative portrait of Self and serves as a means of establishing an identity of Our “civilized” and orderly society. such as Vladimir Peric Talent and Sasa Rakezic Zograf. Folklore can play an important part in building and maintaining a sense of identity and the image of “the Turk” can serve this purpose. local history. an image greatly interwoven with Slovene national identity. from 1918 to today. use these objects in their art works. Macedonians. all in Serbia. at bottom. Anja: Department of Ethnology and Cultural Anthropology (Faculty of Arts. etc. 1998). That is also the focus of my research. it is concerned with the question of whether the assassination could be constructed by Yugoslav intellectuals and political leaders as a foundational narrative of resistance and liberation. Whichever the case. Belgrade Others in Heritology: Private Collectors' Nostalgia and Creation of Local and Personal Memories In this paper we would like to address issues pertaining to un-institutional contemporary practices of collecting and display. as in cases of Manual Museum of Forgotten Arts in Novi Sad. Keywords: private collectors. The Ottoman Turks came to represent a “hereditary enemy”. artists collectors. Key words: The Turks. national identity/foundational national narrative. cultural. Some of them. My paper wishes to analyse specific sites of historical reinscription. Folklore. Thus Wachtel explores such cultural processes as the codification of a shared national language and the cultivation of a literary/artistic canon. Collective memory. addressing presents needs and projecting . that the stories about the Turks are deeply embedded in the landscape. In these cases. In regard to this I will also take into account the fact. these recreations of a past are used in business settings in order to attract customers.

the paper will trace the objects’ journey from its creation by artist/model and photography studio and onwards between hypothetical recipients. The place of a strong transformation of cultural memory are the towns with preserved historic cores and facilities within the building heritage in Macedonia. Likewise. the men of imagination] will lead the way in that great undertaking. what can this tell us about the capacity of ephemeral material to capture longing suppressed to the shadows of society by dominant ideologies? Keywords: Ephemera. they will bring back the golden age from the past to enrich future generations. During the period of wars the State created a restrictive but controversial atmosphere regarding religious and ritual activities. they will inspire society with enthusiasm for the increase of its well-being by laying before it a tempting picture of a new prosperity. drawing out the contextualizing societal distinctions between each role in the process. they will proclaim the future of mankind. Its preservation requires a special strategy and affirmation within the social system. In the one hand. the focus here will be not so much on the image depicted on the postcard as on the performativity of the objects’ exchange.less reactive. especially in these times of “crisis” when “we” are made to feel that our day-to-day existence is precarious.) with different intensity can be analyzed the transformed image of the cultural memory of the period of the 19th and 20th century. and officially the government opposed religion since they considered . However. Stip. Trent University Living with the Dead – Memory and State Authority in Post-socialist Vietnam Since its birth in 1945. Polog etc. including women. Taking the case of the Salome postcard.Shtip. bolstered national identity and protectionist border-controls. the demilitarized bunkers I wish to analyse also figure as alternative visions for living together. etc. Ohrid. Struga. Berovo) and into rural units (Mariovo. Debar. while this is key to the provocation’s example and will be glossed. Vietnamese Socialist State rejected the belief in the existence of a divine or supernatural entity (-ies) and superstitions (e. Transformed cultural memory can be analyzed through a multidisciplinary approach factors and the historical and social influences that affect the establishment of the modern human memory. The “avant-garde” became an experimental association of artists working together for the benefit of society as an evolving whole. Bitola. Exchange Namicev. fate. Architecture and design institute Transformation of cultural memory through the traditional architecture in Macedonia The vital memory that is associated with the location (rural or urban) and traditional structures in contemporary are experiencing greater intensity. 2. State authority and its attempts to legitimize certain memories have been represented in the policies on religious and ritual practices being carried out for several recent decades.. Prilep. and how these claims were contemporaneous with societal longings at the time. 1. Krusevo. the Socialist State of Vietnam has had to deal with the projects of nation-building and modernization in which the state sought to reconstruct an official discourse of the past and marginalizing the others. They therefore also offer forms of critical resistance to the current promotion of isolating individualism. the perspective poses the question of what sort of claims the object was making on those involved in the exchange of the orientalized ephemera. Through specific examples across cities (Veles. particularly when observed within the context of characteristically ambivalent modernity. Guidelines for preserving the optimum level of cultural memory within the traditional architecture.g. astrology. he is envisaging social values that are largely incompatible with capitalist consumer “culture” and competitive “market forces”. Taken in hindsight.. cultural policy in the long run. A similar undertaking was proposed by Henri de SaintSimon when he diverted the term “avant-garde” away from its military implementation towards more a progressive usage. some guidance can be offered on how the effects and the influence of factors that are important for preserving the authenticity of the cultural profane building heritage. Petar: Goce Delcev University. Hoa T. Based on the examples. Profane building heritage has a major impact as a complex area in the image formation and contemporary transformation of the city or rural settlement. In On Social Organisation Saint-Simon described the “avant-garde” as follows: They [the artists. and maybe more pacific. exchangeable ephemera. Skopje. which was mass produced in the West at the turn of the century. pleasurable exchange in modernity The dominant historical narrative of the modernist period has tended to bypass one particular manifestation of marginalised culture and longing. Examples -chronology of traditional buildings and historic cores in Macedonia as transformed images of cultural memory. His suggestion that new technologies should serve to nationalize “luxury” and internationalise peace would require a radically different approach to social organisation from that prevalent today. Keywords: Nguyen. and spirit mediumship). when Saint-Simon employs the term “new prosperity”. Kratovo. Keywords: cultural transformation/ historical reinscription. adaptability to urban and spatial plans. Economic “prosperity” might well be an appealing prospect for “us”. pocket-sized. Longing. bunkers Murphy. University of London ‘Under the Desk’: Tracing the fleeting. River Maleshevija. Everyday. However. Core segments to analyze the transformation of the image of the city and rural settlements within the traditional architecture in Macedonia. Strumica. This manifestation takes the form of often image-based. the regulations for the protection of architectural heritage. Tetovo. The transformation of the image of a city or village in human memory are frequently changing and need to be adapted to modern needs and the concept of living. Helen: Royal Central School of Speech and Drama. such as postcards. The image of Salome is important for its Westernized oriental significance which is analogous to minority identities of the period. Marginalization. geomancy.: Vietnam Institute of Culture and Arts Studies. Future directions are moving within the boundaries of raising the public awareness. The narrative bypass is of critical interest.50 different.prospects for the future. divination. intensifying certain forms of cultural and rural tourism. 3. Faculty of Natural and Technical Science.

is not. We will present an argument as to how the name Anna resonates with the semantic nuances of the fictional text because it is not only a part of the onomastic space of language and culture. with its stable and all-encompassing semantic halo. yet they make up a whole of voices. religion. we claim. dead soldiers. in December 1986 the Sixth Party Congress of the Communist Party of Vietnam was held in which the government adopted a general policy of renewal or “renovation” (doi moi). heroes. such as La Reine Margot of Jean Dreville (1954). in works of art created in the post-war period between 1953/54 and 1963. functions in the art of the 20th century and. More than ten years after the unification of the country taking place in 1975.51 it as primordial identities. because real life stories rarely come to us complete. Frisch. Keywords: mythological name. ancestors. Keywords: Sandra Cisneros. I shall see how Maurice Halbwachs’s concept of collective memory applies to Cisneros’ story and the Latino experience. the dynamics of changes can be registered through the functions of the mythological name which produces a certain story that unlocks layers of meaning in the text. Anna. ” I will try to examine how personal experiences become memories and those memories transcend into stories. persuasive. but also a literary. through which they reconfigure the past. or the love of geometry (1953) by Max Frisch. All the emotions my characters feel. Contempt of Jean-Luc Godard (1963). Emotions. though. Murdoch. These vignettes are not necessarily chronologically related. Based on the certain issue of ritual practices. based on such traditional belief.” (xxiii) Although Sandra Cisneros draws on autobiographical elements in The House on Mango Street (1984). good or bad are mine. as well as the comedy Don Juan. poverty and shame? On that note. Roman. The State attempted to shift the focus of worshipers from the dead members of their families or communities to officially approved heroes. Cisneros conveys the Southwestern Latino experience of the big city and the streets. and revolutionary martyrs in order to demonstrate characteristics of official national image such as solidarity. where Latinos’ memory is dependent upon the life in the barrio within which the majority were/are situated. The presentation will focus on the name of Anna (Anne). Latinos. Taking my cue from Cisneros’s “The House on Mango Street. as well Christian). can’t be borrowed. as well as in the following decade. many ritual practices and traditional belief have been witnessed in contemporary social and cultural landscape of Vietnam. Our paper will zoom on three core texts which belong to the literary year 1953-1954. the State “invents” their own rites related to commemoration of the war dead. and to a certain extend relatable? Has Cisneros’s memories. Sorbonne Nouvelle University Paris 3 / University of Texas at Austin Sandra Cisneros’s The House on Mango Street: (collective) memory resonating from “the barrio” “The people I wrote about were real. Socially. Through her (Cisneros’s) stories. Faculty of Languages and Literature. namely the novels Under the net (1954) by Iris Murdoch and Bonjour tristesse (1954) by Francoise Sagan. while the state has relaxed some restrictions on religious and ritual practices. more specifically. Plovdiv University „Paissii Hilendarski”. her novella does not stand for an autobiography. Diana. martyrs. Esperanza Cordero’s stories. colors. stories. our presentation will focus on an interesting aspect of “cultural memory” (memory as reconstructive imagination) – how the mythological name. Our analysis will touch upon the re-configuration in the representation of the Mother archetype during the post-war decades of the 20th century and discuss how the name produces a story (“the story” being a procedure for reconciling changing roles – individual and/or social. Maurice Halbwachs Nikolova. co-incidental. nationalism. from here and there. As a rarely “legitimate” religion. However. and the related names of Alice. martyrs Nikodinoska Jelena. of the barrios that is. but it rather represents a collage of events. Germanic-Scandinavian. (collective) memory. tracing its functions and logical manifestations in a range of Western European literary works in the year 1953/54. etc. national heroes. story. middle. powerful. cultural phenomenon which serves to elucidate (and rethink) social and cultural roles in society. and end. The analogy will also carried over to emblematic cinematographic works from the same period. characters. Sonya. ritual. we will discuss the presence and functions of character types. and places that independently from one another constitute vignettes. Is what comes from experience and memory that make writing strong. collective). and movements that once reverberated along Mango Street. now and then. modernization. How and why certain memories would be selected while the other would be marginalized? How social memory relates to the establishment of nationalism and modernization under the government of a socialist state? How different political factors negotiate and contest the authority of the state in selecting and legitimating social memory? Keywords: Memory. can’t be invented.the existence of the souls of ancestors and the veneration of the dead. reflected in Esperanza’s living experience and language contributed to the Latino’s collective memory of the life in the barrios coupled with racism. Alix. Aleksandrova. this meant a loosening of state controls on religious and ritual practices. and Esperanza’s neighbors’ stories. Along such lines. the appearance of which under the same name – Anna . In doing so. but sometimes three real people would be braided together into one made-up person… I cut apart and stitched together events to tailor the story. Moreover. through the mythological meanings this name carries mainly in European mythologies (Ancient Greek. barrio. Adelaide/Adalheid. the state remained ambivalent about one key concept of Vietnamese ritual life . the worship of the dead became an essential tool for the State to reconstruct and popularize an official discourse on nationalism. gave it shape so it had a beginning. particularly the worship of the dead. the government has continued to maintain control over the institutional life of organized religions. and the films of Francois Truffaut The 400 Blows (1959) and Jules and Jim (1962). As a result. Sagan. patriotism as well as the state’s prestige. In the other hand. Bulgaria The name as locus of cultural memory Given the heightened interest in issues related to “cultural memory” and its multi-dimensional interpretations until now in the fields of diverse disciplinary spaces. for the most part. . state. Anglo-Saxon. this paper seeks to examine the relationship between state authority and the construction of collective memory as well as the contestations happening in this process. Danu/Annu. the great goddess-mother. socialism.

Germany. festive commemorations—including the activities and rites of “cultural memory”! The ecological perspective can help to assess these strategies and their achievements. the task is not so much to preserve as many memories as possible. they are still around. The novel on Slovenians in German language addresses readers of both co-existing nationalities. for it speaks about the double oblivion and marginalisation of the victim: it unveils the deepest grounds for inner contempt and concealment of one's cultural memory on which the post-war assimilation of minority was founded (traitors in Austria. The paper demonstrates the significance of purportedly “marginal” stories in developing collective memory and in effecting historical understanding while shaping moral and political lessons emanating from shared histories. Analyzing three prominent Holocaust Museum exhibitions: "Yad Vashem" in Jerusalem. and using qualitative content analysis methods treating the Museums’ exhibitions as texts. collective memory is a major component in the construction of a shared national identity. with the racism. Previous civilizations may have got away with flushing the problem downstream. German Resistance.52 Noam Tirosh. guilt. her father’s youth experience of partisan combatant and memory of the whole community of murdered families and forsaken rural homes in her homeland. Israel Do We Remember Them All? The Representation of the German Resistance to Nazism in Holocaust Museums in France. and poetic language which functions as the sign of faithfulness and pride of the . yet even historical aspects pertaining to these historic events have taken on different characteristics in different countries. the war crimes. By contrast. identifying oneself with the victims of history. one might say: of our habitat. an autobiographical narrative on personal formation in a traumatized Slovene family. Oddelek za slovenistiko. It is the insight that many more areas of our lives conform to the laws of ecology than we would have expected. who since the early childhood feels marked by the shadow of death. or. The United States Holocaust Memorial Museum in Washington. “Ecology” here is not just a metaphor. the question is how to handle these memories (and suppressed memories) in an ecologically responsible way. So this paper will be about German memorial cycles that contributed to the slow transformation of the toxic influences of Nazi ideology and its power elites in postwar German culture. After the Shoah and World War II. the hunt for the so-called “Persilschein”. It hangs around and it comes back to haunt us. universities of Berlin. The novel became Slovene and German bestseller and received important Austrian literary awards (Ingeborg Bachmann. long after the war had finished. Ljubljana. Collective memory. revealing and articulating the crippled identity of the person.“ (Steve de Gruchy) “We all live downstream”—this characterizes our precise location in history. was concerned with World War II and the Holocaust. Among other political institutions. and the "Memorial de la Shoa" in Paris. Department of Comunication Studies. After almost 70 years of post-war history it is possible to identify the different strategies applied. this work reveals the significant effects of memory work. If it is true that the sewage of history will never leave the globe. This paper suggests that academic focus on "marginalized" historical issues – such as the German resistance – enables a better understanding of collective memory and helps its development from an amorphous theoretical term without explanatory capabilities to one that highlights the political and social power relations guiding it in different contexts. Bruno Kreisky). Resistance. the museum plays a central role in establishing a society’s collective memory. by which the sliding into social and cultural secondary status and extinction began. repression of memory. . DC. Keywords: Memory. The symbolic »angel of oblivion« is in fact the angel of liberation through writing (albeit not in author’s mother tongue). Israel and the United States Politically designed and influenced by social and political processes. In Paris. and any sustainable world has to come to terms with this fact. World War 2 Norbert Reck. Ben Gurion University of the Negev. Shoah/Holocaust. history. Saarbrücken and Munich An Ecological Approach to Memory: The German post-Shoah History as an Example „Our thinking about sustainability must deal with sewage because we have to live with our waste. suppressed cultural memory The Slovene poetess. But most of these toxic substances did not wash off. Extensive scholarly writing about collective memory this issue. the violence that our ancestors have brought into this world. threatening to poison our present and future. Filozofska fakulteta. however in many cases their treatment is merely factual and their actions are harshly criticized. translator. This is especially true for Germany after the rule of National Socialism: We live with the ideologies of hatred. Using infant perspective she models her grandmother's experience of concentration camp. Slovenija Crippled identity. Keywords: Ecology. Holocaust. the resisters are significantly present. guilt tripping. One such aspect of WWII is the history of the German resistance to the Nazi regime. particularly its original trauma. the conceit. because it surpasses the prevailing political and cultural stereotypes. but in a globalized world there is no downstream – or more correctly. intimate and emotional level. such as denial. ‘we all live downstream’. in which memory and forgetness were simultaneously combined. editor and stage director in Klagenfurt Maja Haderlap (born in 1961) from Austrian Carinthia published in 2011 her first novel Engel des Vergessens (Angel of Oblivion). By means of exceptional sensitivity. In the family narrative spanning over three generations the political and national conflicts are presented on personal. Novak Popov Irena. This is also a means of revealing the supressed cultural memory of the Slovene minority. which started emerging in the 1980s. There is one stream of water from which we all drink. memory. For example. the resistance to Nazism. Rather. palpability. It cannot leave the globe. German Resistance is almost completely ignored. forgotten in Slovenia). in the United States some of the German resisters are described as moral role models who symbolize the universal struggle against the human tendency to remain a bystander in the face of atrocities. Germans intended to whitewash themselves by using various methods of cleansing. in Jerusalem's Yad Vashem. Collective Forgetness.

2005) and Aleš Čar from Slovenia (O znosnosti/On Tolerability. The separation and unification in this is important such that it emphasizes the variability of the limits of identity in defining one’s self. As one example. Keywords: Macedonian Muslims. the colonial and ‘post-colonial’ conditions of their lives. Petersburg: Andrej Sobolev. and the pairing of Aboriginal figures with the kangaroo and emu in colonial and national iconography. Australia. this paper focuses instead on a series of declarative statements. Wedding performances have brought along competition. On the one hand musical groups named as orchestras and on the other . Klenje. Alexander A. and in ways that engage with the ongoing politics of national history and colonial legacies in contemporary Australia. post-communist transition. Recently. and to challenge. that work to condense complex historical experiences. violence on colonial frontiers in which they were shot like animals. Slovene minority in Carinthia. and it has featured in scripts written by Aboriginal people for radio. Royal Albania. Engel des Vergessens is not only a felicitous continuation of the distinguished literature by Carinthian Florijan Lipuš. The founds of the Museum have traditional clothes of Macedonian Muslims from Golo Brdo which are collected during the fieldworks 20082010. Alexander Novik. University of Dokuz Eylul. intergenerational memory. Denis Ermolin. film and television dramas that deal with Australia’s continuing colonial history and racial structures.53 oppressed ones.: Peter the Great Museum of Anthropology and Ethnography (Kunstkamera) of the Russian Academy of Sciences. amor mijo. Music is encompassing besides being determinative. Australian National University Collective memories and colonial legacies in Aboriginal Australia This paper examines the ways in which Aboriginal people in Australia use various modes of collective remembrance to make sense of. culture of Macedonian community in different periods of the state of Albania (Osmanli time. processes and structures into simple but powerfully evocative language and images. Keywords: cultural memory. Albania. These intertwined limits bring together a debate from the viewpoint of the continuity of identities. but is also in line with similar aspirations to present general historical themes through the family narratives in which an individual figures as a stranger and outlaw: Marko Sosič from Italy (Tito. Ostren etc. Moving away from a preoccupation in memory studies with narratives. Peter the Great Museum of Anthropology and Ethnography and St. Saint-Petersburg Ethnic affiliation. Nugent Maria. This cryptic statement recalls a diversity of historical experiences. The identity debate that appears as a multidimensional phenomenon determines the image of the individual in this aspect.. public history Olcay Özkan. autobiographic novel. Previously articulated mainly among Aboriginal people themselves through intergenerational remembering and as expressions of collective identity forged through common histories. Golo Brdo. crippled identity Novik. Golloborda). high profile Aboriginal sportspeople and politicians have evoked it when making a political point. colonialism and post-colonialism. this statement stresses out various ethnicities. The author puts into academic context a new description of almost unexplored Macedonian community. Maria Morozova and Alexandra Dugushina (Institute of Linguistic Studies of the Russian Academy of Sciences. 2011). Maja Haderlap has succeeded to present the peripheral Slovene culture as central to contemporary intercultural dialogue. the adapting mechanisms have worked out specific approaches to preserving ethnical identity and traditional culture. for instance. common memory. In the paper I reflect on the ways in which the circulation and ‘re-mediation’ of these Aboriginal collective memories creates possibilities for new public histories to emerge. Alb. Çamdibi region in Izmir where a vast majority of Balkan immigrants live also harbors many musical groups. There are around ten settlements with Macedonian population in the Eastern part of the Republic of Albania (Mac. Institution of Fine Arts. Five scientific researchers from St. Ruşen Alkar. narratives. modern republic). language. Materials of fieldwork include data about identity. in 2008-2010. racial thinking that considered Aborigines as less than human. it is not uncommon to hear Aboriginal people explain their shared historical experience under colonial rule in terms of having been ‘thrown in with the flora and the fauna’. identity combined ethnical neighborhood. Keywords: Aboriginal people. this particular statement (and others like it) are now heard in a range of public contexts. family narrative. Petersburg State University) had organized fieldwork in the villages Trebisht. common memory and traditional culture of macedonian Muslims in Albania: adaptating and preserving the identity (Fieldworks of 2008–2010) The paper is devoted to the question of ethnic affiliation of Macedonian Muslims in conditions of combined ethnical neighborhood. These groups differ in terms of instruments and performance. including the past exclusion of Aboriginal people from the national census. Enver Hoxha monism period. each no more than a few words or a sentence. In conditions of long-term neighborhood with other languages and religious denominations. traditional culture. The answer given to which identity will be taken upfront and which will be subordinated determines the track of the relationship between the individual and the society with which the individual interacts. The data have been obtained during the fieldworks in Eastern Albania. Department of Music Sciences Balkan Identity Debate in the Izmir Camdibi Immigrants Even though the “immigrants” who are ethnically from the various countries and regions of the Balkans define themselves with a general statement of “Balkan immigrant”. perceiving their value and necessity of translating to descendants. These expedition materials are archived in the Kunstkamera (Museum of Anthropology and Ethnography of the Russian Academy of Sciences).

Keywords: museum. The paper also raises the issue of collective memory within the Museum today where this memory is bound to preserve the regional (not national any more) Istrian identity by means of the same artefacts. Individual differences in cognitive complexity are associated with a broad range of social cognitive skills: more complex constructions lead to differentiated impression formation. 1955) people use in approaching events. This article will try to understand the identity debates of the Balkan immigrants in the Izmir city Çamdibi example using observations and interviews with musicians. individual recollection and social context forming collective memories. The series chronicles the experiences of a young female journalist working at YLE television news from the late 1960s to the early 1980s. avoid intergroup biases in their explanations. anthropologic. catalysts communicating and transferring the message of recollection of a disappeared world or a disappearing world to contemporary man. identity debate. considering several alternative explanations and a more complex combination of them. I’m particularly interested in the affective uses of television archive material. Ethnographic Museum of Istria Cultural Memory in the Ethnographic Museum of Istria Is it possible to keep the (intangible. wedding musicianship Orlić. regional identity. asking what kinds of felt relations to Cold War era Finland Uutishuone constructs. museums also keep transcripts of recollections of narrators.54 hand groups that have emerged with various names have become both rivals and have also complemented themselves. People with high cognitive complexity concerning their national identity evaluate national historical events in a subtler way. 1955. We also argue that cognitive complexity affects national identity processes as well. This paper studies how the use of television archive material in fiction provides material for cultural memory through a close reading of the Finnish drama series Uutishuone (‘Newsroom’. Hungary Effect of cognitive complexity on collective memory Cognitive complexity is usually referred to as a psychological variable which indicates the complexity of the mental frames/constructs (Kelly. Historical facts promote the stability and authenticity of an identity. They are becoming the object of anthropological research and they tell of a marginalized individual. Bieri et al. emotional and reflective) memory in a (material. cultural memory Orsolya Vincze. The more complex system of constructs a person has. Apart from the artefacts. Istria. Cognitive complexity has substantial consequences on coping with difficulties both at an individual and at a national level. imaginary. i. In this aspect. Museum's objects. Orchestras and other groups can perform together especially at the weddings of Macedonia immigrants. Did the collected items use to be a physical. Media Studies. We assume that people with high cognitive complexity evaluate social situations in a more differentiated manner. as clips of archive material in documentaries and commemorative programmes. both national and regional. The televisual past becomes a part of the contemporary media landscape in the form of reruns and DVD releases. often by editing archive . University of Pécs.. In addition to this. However. tangible reality that represented the cultural regional memory? Do the same objects evoke identical or different recollections and to what extent to they promote regional identity? Are these objects individual or collective memory and when do individual recollections become collective memories? These are some of the questions discussed in the following text. Keywords: Pajala Mari. to express the characters’ feelings. University of Turku Feeling the past: Television archive material and cultural memory in the series Uutishuone Contemporary European television is increasingly invested in recycling its own past. The topic of this paper is the consideration of the idea of emphasizing both individual and collective memories when establishing the Museum in Istria as a reaction to Italianism and as accentuation of the Croatian identity further in the past. a vacuum where the importance of history and memory is captured. tactilely and visually accessible) museum? Cultural memory is the backbone of the identity. Keywords: Balkan immigrant. is just a space. 1992). the more flexible she can manage threatening events. upgraded with personal recollection and remembered recollections of one's antecedents – by the people. Shepherd & Trank. better say. Orchestras using traditional instruments and other groups are indispensable parts of transition periods such as weddings. Science. walled off. the selection of songs that reminisce of the “old days” play a binding role in the patterning of cultural identity. 1965) and the scores were used to examine its effect on perception of historical events and on narrative production. application of multiple dimensions in social evaluation and decision processes (see Hale & Delia 1976. A museum exhibition is one of the means or. and on Internet archives such as YouTube. 1966). are more likely to take the perspective of the outgroup(s). 2009). military service farewells. making prominent use of television archive material in its narration. Uutishuone uses archive material as an affective element in three ways: in scenes that describe the experience of watching memorable moments of television. YLE.e. emotions. As a result. people or thoughts (Bieri. Cognitive complexity was measured by the modified Role Category Questionnaire RCQ (Crockett. these facts become interpreted. and show a highly self-reflective attitude in event evaluation. less dependence on simple social schemas and better performance in perspective taking. there is an increasing need to understand how the circulation of television archive material contributes to the construction of cultural memory. historical or another. reconstituted. the immigrant institutions also organize special nights that host these musical groups and create a common perception binding the participants to their common past. Interviews are no longer mere accompanying content describing museum objects. circumcision ceremonies. whether it being ethnologic. Ivona.

until the end of the First World War) This paper offers a comparative cultural analysis on the travel writings of the British authors such as G. an outcry against the subjugation of the Macedonian people. Their observations regarding the Macedonian women reflect the specifics and the values of the Macedonian cultural identity and tradition. Keywords: Cityspace/Platform. which is working at the crossroads of different aesthetics and disciplines and one which is breaking down the barriers between artistic disciplines and cultures. global. E. Television archive material acts as documentary evidence of the past. and are part of narrative time concept through which we read and examine heritage object. CyberSpace / Multiculturalism Pavličić Jelena.F. at other times creates a sense of distance between the moment of viewing and the historical events depicted. as an urban cultural and arts environment. Understanding this affective dynamic is crucial to understanding how the series constructs cultural memory of Cold War era Finland.including the tradition of engaged theatre from Brecht to Boal and Heiner Müller – and utilizing the work of POIESIS THEATRE PROJECT. Macedonian woman. The presentation will also introduce an idea. Miller. Slovak cinema. In this paper we are doing it through examination of the concept of time. they were deeply moved by their subordinate position and primitive lifestyles. H.Church of St. Interchange. television.P. University of Pristina – Kosovska Mitrovica Narrative of cultural heritage: theory and practice . real and cyber neighborhoods while on the other it becomes a meeting platform for interactive interchange and communication that only arts and culture can provide in our global village. new online media. W. and by using footage from old news reports to create a sense of pathos by emphasizing the gap in knowledge between the series’ characters and the viewers who already know how history developed. It is a place as a cultural center at the heart of the city/polis and as a creative platform searching for new up-and-coming interactive forms in the electronic age and developing new models in our real and cyber space community. new electronic media. The presentation will also introduce a vision for a new performing arts environment built for and by the people. affect Palúch Martin. Abbot. Institute of Theatre and Film Research of Slovak Academy of Sciences Subjective (alternative) history in Czech and Slovak documentary cinema after 1989 In Czechoslovak cinema. this lecture/presentation will address one possible creative model which envisions a fusion of the performing arts. documentary film. but equally importantly it works as a affective element that at times creates connections between the viewer and the characters. Cyril and Methodius” University – Skopje. The case study of this theory and focus . They were direct witnesses of the events that took place in Macedonia in the period before and after the Ilinden uprising and in the course of the First World War. However. Macedonia. A. Shaping the meaning of the past is followed on the route of a sense of self to the sense of everything . Centre for Museology and Heritology. and the stance that prevails in their works on Macedonia was. their travel writings provide positive and negative stereotypes about the Macedonian women. focusing on the position of the Macedonian woman. based on the impact of the historical events on the subject of individual. in fact. Keywords: Cultural memory. cultural identity and tradition Panovski Naum. and provides a model of multi-cultural exchange in a new meaningful artistic entity. the this lecture/presentation will discuss the idea of a specific “cityspace”. archive material. the sciences and interactive online education. Stebbing and I. These images of the past are product of selective forgetting and active process of remembering. Moreover. on the one hand it becomes an open space for sharing our local. Hutton. Poiesis. It will also introduce a vision for a new creative model open to us as a Poiesis Space. architecture. it is rather unlikely to find particular examples of Czech and Slovak documentary films that deal with the issue of subjective history. an exceptionally critical period for the future of the Macedonian people. . “Blazhe Koneski” Faculty of Philology The Macedonian Womаn Through the Prism OF THE British Travel Writers (From the beginning of the 20th c. film and computer design. and culture. Crossroads. collective identity Panova-Ignjatovikј Tatjana.N.performing and visual arts. Keywords: travel writing. subjective history. This turn is connected with the new theme of coping with the national past and also with the uncovering of the collective identity and re.from individual images of past to those of collective one. is interpreted and used.Upward. New York (USA) CitySpace = CyberSpace = Poiesis-Space: a cultural and performing arts model as a new form of cross cultural engagement Summing up the 20th century cultural and theatre experiences. shared by both Czech and Slovak film makers alike.E. The amount of films with the subjective interpretation of history didn’t appear in both national cinemas until immediately after the division in 1993. That is. In so doing. Faculty of Philosophy – Belgrade / Faculty of Arts. the value of this subject is changed. Nikola in Pristina Depending on the context in which the subject of past achieves a particular communications. an already attainable dream of a “cityspace”. Brailsford. which provides room for braiding and blending of different forms .evaluation of the past. The object polysemy is causing this so we are always challenged to rethink the phenomenon of heritage. from linear to narrative one. “Ss. Poiesis Theatre Project.55 material into a montage sequence accompanied by popular music. Keywords: Czech cinema.

that images are received and interpreted in a living sense' (Belting 2001. political elite. namely: 'Mogadishu 1985'. production of cultural memory depends also on various social actors. with our focus on permitted and forbidden stories. sevdalinka. whereas the rise of nationalism after the mid-1980s and the Bosnian War shifted the emphasis towards the Bosniak character of the genre in scholarly and popular representations. Bosniak authors have created new sevdalinke out of pre-existing Bosnian and non-Bosnian songs by amending the lyrics. Nikola in Pristina. While emphasis on Croatian identity of the club was silenced in the Yugoslav period. Furthermore. in all three periods. 1991. Olick 2006). serious representations of the Bosniak identity. memory politics. a largely forgotten piece which. articulated into four scenes. These trends are connected with invented traditions. This paper. Age-old and Rewritten – Inventing Bosniak History through Sevdalinka Songs The paper analyses the canonisation of invented traditions in Bosniak politics of memory in music. at the time.56 of this paper is 19th century church of St. its ontological status in the archive is slippery: it has acquired sideways modes of circulation. Political elites were most influential social actors. School of Social Sciences and Humanities. Flora: Roehampton University. Our thesis is based on the qualitative analyses of official books and monographs on the history of the club. Art kuća sevdaha. constructed and formally initiated. at the same time. The aim is to recognize and discuss place of the church in the cultural memory of town. the fact that Crollo Nervoso was a live performance means that. In popular discourse. to 1945. London 'This Message was Recorded before your Departure': remembering imagined future and past geographies in Magazzini Criminali's Crollo Nervoso (1980) In 1980 the Italian theatre company Magazzini Criminali staged Crollo Nervoso. invention. Keywords: Bosnia. Institut društvenih znanosti Ivo Pilar Football. the ethnic background of professional sevdalinka singers and musicians varied considerably. Starting from such position we wish to present main discourses and types of changes in interpretations of 102 years long history of Croatian football club Hajduk from the city of Split. The volumnious output of Omer Pobrić’s (1945-2010) privately-run Institute of Sevdah (Institut sevdaha) is crucial for the analysis of the rewriting and canonisation of the repertoire. traditions and habits. In addition. Croatia. in the recent period of Croatian state. Keywords: time concept. structure of cultural heritage. University of Tampere Traditional. to 1990. from 1945. and opposite. Hajduk. We are following the life and meaning of this object in the old city center through the period of existence and ideas that enriched it. 'Los Angeles International Airport three years later'. 'totalitarian socialist modernization' (from 1945. CD sleeve notes. The mise en scène of the piece makes present imaginations of three spatio-temporal dimensions in the future and one in the past: as they stand now. when the club was founded to the end of the WW2. church of St. The performance. belonged to the local and national political/economical elite. The direction of those changes is linked to dominant discourses of particular social periods. and only within the human being. television programmes and audiovisual recordings from concerts. it seeks to advance hypotheses on how these imagined times and spaces may still be at work in the present imagination.). the historical dimension of the exhibition does not go back further than the the age of folkloristic festivals and mass media of the post-Second World War era. In Titoist Yugoslavia. we should divide history of Hajduk in three key phases: from 1911. cultural memory. interpretations and re-interpretations (Hobsbawm. Cultural memory could change through time and space. 37 Keywords: . Mustapić Marko. seeks to look at how imagined geographies and futuresas-history circulated in the context of early 1980s Italian postmodernism. such purportedly old and traditional songs form a part of the ‘Bosniak history book’. remembering. Rogić (2000) divided contemporary Croatian history in three most important phases – 'primitive capitalist modernization' (from 1868. cultural memory of town Pekka Pennanen Risto. 'Saigon 21st July 1969' and 'Africa August 2001'. which multiply and complicate its possible readings. in this case it means shaping relation to symbols and history of the club itself. The sources of the paper consist of commercial recordings from 1928 till today. to 1990. it is specific process which includes various definitions and re-definitions. The expansion of the sevdalinka repertoire requires attention since a number of Serbo-Croatian-language Orientalist songs – even parodies – from the pre-Second World War era have become canonised. takes place in four dimensions other than Italy in 1980. political power. Nikola in Pristina. which portrays Bosniak culture. Politics and Cultural Memory: The Case of HNK Hajduk – Split Memory is not something given or fixed. Second phase is marked by the Yugoslav period. and act as a sort of affective fantasy from which to measure how imaginations of the future and the past have changed. Pitrolo. till today). these imagined displaced futures and pasts seem to mostly illuminate a certain self-imagination of Italy in 1980. which comprise traditions that are blatantly invented. the Sarajevo museum of sevdalinka. canonisation Perasović Benjamin. Nowadays. considering Hans Belting's notion that 'it is within the human being. was critically considered as an apex of Italian postmodernity on stage. narrative.) and 'transition' (from 1990. Keywords: football. although it has been recorded in various ways. Opened in 2008. in one of the best indicators of the development in Bosniak musical history culture. The presidents of the club and whole management. images of the past. The third phase starts with the independent Croatian state and the foundation of Croatian football league (1992). shaping and changing interpretations of the past. In similar manner. many Bosniaks interpret Bosnian traditional urban songs – sevdalinke – through the nostalgia for the glorified Ottoman past and the post-Yugoslavian Bosniak culture and identity. moving from the specific case study of Crollo Nervoso. the anti-fascist component of the identity of the club is mostly forgotten or denied. scholarly and popular writings on music.

in 2011 and 2012 a comparative evaluation of the Slovenian and Macedonian National Tourist Offices campaigns was the course assignment.the 1984 Slovenian National Tourist Office campaign Slovenia – my country /Slovenija. etc. monument and memorial: Daniel Libeskind’s Jewish Museum in Berlin (1999) The main thesis of this paper is that the Jewish Museum in Berlin is moving between museum. narratology. On the one hand political regulation allowed smuggling and tolerated the black market economy because this mitigated the consequences of unsatisfactory socialistic economy but on the other hand the dissemination of fashionable Western items helped to undermine it. cultural antropology. The second part places reasons for shopping abroad into a wider context of socialist economy. While in 2009 students were asked to write evaluations of the last mentioned campaign. especially its tactics and strategies with an emphasis on gender division and a detailed description of purchased items abroad is given. discussing the reach and effects of nostalgia as a concept employed by tourism campaigns.57 Pješivac Željka Between museum. this museum is place of memory’ (lieu de mémoire) in the Pierre Nora’s sense of meaning. relations between culture and power. monument and memorial. The contribution also makes an important distinction between “shopping tourism” and “leisure tourism”. It will furthermore present the seminar conclusions and analyze the students’ resonance in particular on the Macedonian campaign as contemporary narrative by: looking into the perception of the campaign as a tool within the Macedonian striving for political recognition. Hornstein Tomić Caroline. Institute of Social Sciences Ivo Pilar The “Macedonia timeless” . tourism . The paper draws its key arguments from content analysis of 38 seminar papers produced by students over a three year period (2009 – 2012) as course requirement in “Tourism Politics / Sociology of Tourism” final year course within an Applied Academic Tourism Master program at a private University in Croatia. this paper connects the following: theory of reception. monument. shopping practices. expensive and non-diverse. memorial Poljanec-Borić Saša. The analysis is based on in-depth interviews that provide oral narratives about cross-border shopping to “Western” capitalistic countries. since people recognized its products as obsolete. smuggling. Through aesthetics of architecture this paper explores problems of representation and construction of cultural mechanism. As cultural studies is a heterogeneous field.) problems as specifics of autonomous world of arts. bearing in mind the difference of international political positions the two countries held in 2011 and 2012 with regards to the European Integration process. socialism. Keywords: cultural memory. The contribution is divided into two parts. It also highlights feelings of shame and discomfort that were accompanying these consumption practices and stresses out the role of cross-border consumption in creating a “new middle class” which emerged in Yugoslavia during its economic progress in the 1960s. and the Macedonian National Tourist Office campaign Macedonia – timeless/Vječna Makedonija. museum. In the first part a detailed description of shopping practices. This thesis aims to explore this architectural object in the frames of cultural studies. as well as subsequent campaigns such as the Slovenian Sunny side of Alps/Sunčana strana Alpa. stylist. The paper will look into the underpinning interaction between strategic tourism marketing and situational institutional policies through comparison of the different campaigns. The central foci of this paper are not just artistic (productional. suggesting that “home” as correlating concept and metaphor is profoundly ambiguous in its meaning. the Montenegrinian Wild Beauty/Divlja ljepota.Centre for interdisciplinary Research “Italians looked down on us. representation and construction of Jewish ethnical identity. It reflects on a series of lectures on strategic tourism marketing in post-Yugoslav countries. Keywords: Polona Sitar. since in the mid-1960s Yugoslavia opened up towards the West. a former socialist republic of Yugoslavia. Research Centre of the Slovenian Academy of Science and Art (ZRC SAZU). but they had stuff”: Cultural memory of cross-border shopping in socialist Yugoslavia after the mid-1960s The contribution deals with a cultural memory and a tourism in the case of cross-border shopping in Slovenia. In other words. but problems of locating architecture within culture and representing procedures of culture within architecture. and how it can be read in the present? How does the architecture of this museum play the role in the construction and representation of Jewish collective memory? These are just ones of several key questions in this paper. technical. moja dežela. history and memory. It points out the special position that Slovenia had with its geographical location while sharing borders with Austria and Italia. curator practices.campaign for recognition: empirical insights into the limits of nostalgia as marketing concept in tourism. theory of film. The contribution examines ritual of shopping abroad in the period between mid-1960s and late 1980s. ethnology. the Croatian Mediterranean as it once was/Meditaran kakav je nekad bio. Keywords: place of memory. What are the relations between memory and monuments. in which different campaigns were comparatively discussed . since Yugoslav citizens travelled abroad in large numbers for both recreation and shopping and tries to provide a better understanding in which way cultural tourism is associated with memory. archives and museums? How the term ‘place of memory’ operates in the context of architectural design of the Jewish museum? How is narrative of Jewish past represented through contemporary architecture of the Jewish museum. and finally theory of performativity.

it engages with the ways in which memory and history are used both in film and film theory. The things we see. seminally investigated by Frances Yates. What we want to recall is at the bottom of the tower (the first coin).conflict years. film theory. Institute of Psychology. Balkan genre. submitted). Films such as Underground. metaphorá) of what we want to remember. too. Research Centre for Natural Sciences. Hungary Social identity and the narrative organization of group history The narrative approach proved to be successful in the empirical assessment of the personal identity. Having a strong stylistic effect they are used in Romanian press which also contributes to enhance aspects that involve not only linguistic matters. Faculty of Phylosophy. Coin Tower Model (CTM). Tibor. in press). to the studies of Aleida and Jan Assmann’s on constructivism of memory. Hungary. past. reflect on war years through specific authors’ approaches that surpass a clear narrative distinction between the issues of guilt and redemption or good and bad. social references. Images. The stories were analyzed with the Narrative Categorical Content Analytical System (NarrCat – László et al. Romanian vocabulary.. inspired by one H. regionally circumscribed group that is often recalled when regional particularity and specificity needs to be established or asserted. (re)presentations. architecture. cultural pattern. smells . but even the occurrence of forgotten words in nowadays Romanian vocabulary. L. in this paper – and in accordance with its nature – we will use a few illustrations from the field of visual culture and literature. Through the creation of Balkan cinema or in recent years. and eventually stress the importance and value of individual transformation in the formation of the current metaphors of memory. In our research we aimed at finding empirical evidence whether there is a connection between the social identity of the storyteller narrating the group’s history and the narrative structure of the story. The social identity category has been made salient by manipulating the instructions. We do not see the original subject of memory. Pécs. in press). The study had 113 participants. Pál. these films seem to construct a specific. metaphor. Several questions are imposed under this model. they all are bearers (μεταφορά. We assessed social identity in line with Turner’s (1987) selfcategorization theory. It was not until recently that the narrative approach had been applied to the research of social identity (e. Serbia “Do you remember the first time?” Metaphors and Metamorphoses of Memory Memory is always indirect. “The Coin Tower Model” (CTM). to mention a few. Most of the terms indicate aspects of material culture creating a sort of fashion in every respect. such as spatio-temporal and psychological perspective. film theory reasserts the problematic view of the Balkans as the European Other. Some of these terms are part of the fundamental stock. University of Pécs. University in Belgrade. metamorphose.g. the storytellers were more evaluative of the historical event. Termed as Balkan cinema in film theory. This transformative nature of the holder of memory can be traced back to antic and humanistic “arts of memory”. and the last metaphor (the one we see). We asked participants to write about what they think the most important event is in Hungarian history. Ehmann. Arad. is at the top of the tower. literature Puric. These items were selected from the Hungarian National Identification Questionnaire (Szabó. landscape.. and memory. social behavior . Keywords: the Balkans. visual culture. they presented the protagonist as more passive and used less self-references compared to storytellers whom social identity categories were less salient. letters. Biljana: independent scholar Balkan cinema as cultural Other: film. Budapest. This paper reflects on current tendencies in film theory regarding the films from the Balkans and analyses the ways in which knowledge production interacts and influence collective cultural memory and the processes of remembering. When the social identity category was salient. In this paper we propose a specific research model. ambient. but what is important is that each of metamorphosis has its own value. cultural memory Radu Voica: “Aurel Vlaicu” University. Keywords: oriental influence.. tastes. NarrCat allows for the automatic assessment of several structural properties. Keywords: memory. The results are interpreted in terms of the self-categorization theory.Yugoslav context Problematic and often contested reality of the Yugoslav breakup was addressed in numerous films made during the post. interpersonal and narrative evaluations and temporal structure of the stories. We measured the identity category’s salience with Likert-scale type questions. via Paul Ricoeur's researches on the relationship of history. some of them belong only to the past and are considered archaisms. Keywords: Popadic Milan. sounds. Balkan cinema. or is their condition a coincidence? In order to provide potential frame for the discussion. The goal of the CTM is to explore the complexity of stored content. the things we communicate with. are actually metaphors of memory. even concerning language. Ulysses’ Gaze or Pretty Villages Burn Nicely. More broadly. László. but social ones. but investigate often escaping nuances of region’s complexity. Following the destiny of the words we could notice their impact not only in the Romanian society of the period. history and cultural memory in post. Can we really get to the original content of memory? Is it possible to separate the individual metamorphosis? Is there logic of transformations. as recognizable bearers of memory contents. statements. : Institute of Cognitive Neuroscience and Psychology. Kővágó. to determine their metamorphose logic. From its original form (thing that we want to remember) to final metaphor of memory occurs series of metamorphoses. The Oriental Influence The Oriental influence upon Romanian vocabulary combines Greek elements with the Turkish ones and it is strongly represented by a period when the Oriental cultural pattern generated mentalities. Hungarian Academy of Sciences. László. Borges indication. social attitudes in Romanian society bringing with them different terms or words.58 Pólya. Romania Words and Mentalities in Romanian Culture.

communal. etc. but also a process of redefining the overall attitude towards the past. as space of diversity and individuality. social transmission. ethnic. Rogač Mijatović. symbolism. communal and civic identities. shifting historic narratives. consensus about collective history has also fallen apart. present and future. Cosentino Daniel. Serb returnees to Croatia. monuments. The work on cultural memory is an important investigation prerequisite of shaping. beyond national perspectives. Università degli Studi di Padova (Italy) Inquiring one’s past through archives: the memory of the Spanish Civil War between literature and public policies A number of literary works produced in contemporary Spain feature the memory of the Spanish Civil War (1936-1939) as a major component of their plots. Different versions of history textbooks started proliferating in the same geographical area where once. Keywords: city. Belgrade The Role of Memory in the Perception of the Identity of Serb Returnees to Croatia This paper observes the role of memory of the events of the 1990s war in Croatia in identity creation. The entire paper derived from a field research I conducted in 2011 among Serb returnees to Croatia for the purpose of my Master thesis. traumatized and conflictive. At the theoretical level. In this process the memory of one group is combating the denial and breaking the silence of the other group and vice versa. the analysis puts special emphasis on certain questions: What are the strategies of activating the cultural memory through multiple simbol bearers of the city. Material for this paper is based on experience of working with Disputed Histories Project that comprehends collection of history textbooks proceeding from different periods of (post) Yugoslavia. and maintenance of the past. assemblage. ethnic nationalism. Croats. history textbooks. the concepts covered by "urban symbolism" and "cultural memory" are being taken into consideration. civic. identity. and consecutive workshops that compare and analyse different history curriculums. The city is seen as a complex dynamic structure of different phenomena. The new century announces not only a dizzying development of new technologies. Ljiljana: Faculty of Dramatic Arts in Belgrade. By observing the memory and silence of both Croats and Serbs in Croatia through the lens of the study of memory and silence. national histories. Rochester Institute of Technology (RIT) Disputed Histories: From Personal to Official Histories and Vice Versa With the breaking up of Yugoslavia during the '90ies wars and with the formation of the new states. The inability to acknowledge their respective pasts stands in the way of the possibility of creating a single supra-ethnical social identity and fosters the creation of two mutually exclusive group identities. Among a vast variety of writing styles and genres. art and society. a place of development and place of remembrance. during Socialism. namely the pursuit of personal and familiar identity through the intricate search of data referring to an old or deceased . space and symbolism of Belgrade In contemporary "runaway world". City symbolism includes not only tangible expressions (architecture. Serbia Imagining and remembering city: memory. Dunja: Research assistant in the Center for Comparative Conflict Studies (CFCCS) at the Faculty of Media and Communications. in order to conduct the analysis of cultural dimensions of city and its identity. Independent artist and American University in Kosovo (AUK). festivals. as well as emotional expressions. personal histories. In the article the author discusses the complex process of articulating city identity and memory.). The conclusion deriving from the analysis of the interviews was that nowadays. discursive (narratives.59 Ramujkic Vahida. etc. disputed histories Resanović. This paper has an aim to examine the shift that took place in conceiving the official historic narratives from the position of personal histories (and identities) and open a space for thinking new position(s) from where more consequential official historic narratives could be constructed. nation state. this kind of narrative displays a recollection of painful events which still appears to be fragmented.). but also intangible. rituals. which play an important role for the community in creating and shaping its image and its identity. memory. as well as the meanings that arise in the interaction of memory. Keywords: memory. cities are becoming the main reference point of social life. in my paper I intend to focus on a subject which I was able to record in several texts. present and future. The way in which certain events are recorded in the memory of members of those two groups reveal that their memories are diametrically opposing. The key issue standing in the way of their full integration into the Croatian civic society is the way in which the memory of the events of 1990s is preserved among Serbs and Croats respectively. only one version served as a reference. Through the case study of the city of Belgrade. as well as contemplating "mental images" that people create. Serbs returnees vacillate between ethnic. as urban space. Revisions of official historic curriculums show us historic narratives as powerful tools in engineering collective (national) identities and maintaining power positions in new political orders. identity. both tangible and intangible? In which way do people and groups keep cities in mind and what meaning is being constructed in these narrative maps of cities? The text also indicates how the practices related to memory and symbolic narratives are important in fostering culturaly sustainable development of the city. Keywords: national identity engineering. it is possible to discern two different perceptions of the 1990s in Croatia. change and development. space and symbols of the city. a symbol of the past. Belgrade Rossi Maura. Written by authors who cannot count on a biographical connection with the late Thirties. silence. urban spectacles.

Orientalism Salamurović. Roșu Petra-Melitta. parents and grandparents. The main goal of this conference contribution will be to examine the representation and composition forms of some of the tourism promotion videos both from the Balkan countries as well as from other regions worldwide related especially to the elements of the cultural memory in order to define culture- . always “ready” to be reshaped in order to achieve wider acceptance. Czechs and Slovaks. Aleksandra.e. The visual images. cultural identity. Postmodernism/metafiction. This paper particularly examines Czech and Slovak literature after 1968. in fact. the image of the Turk was not a discursive justification for imperialism or colonialism but a means of preserving cultural memory when the homeland was threatened or occupied by the Ottomans. Henry: Friedrich-Schiller-University Jena. 2002). The article is based on the analysis of Karin Gündisch’s novels. Yeditepe University. Paradise. memory. a plausible description of the conditions of the Spanish archival system. or to the self-censorship performed by his/her fellow war-survivors. and even out of its boundaries. are the best examples for this mediated communication practice. Romania Overcoming otherness. addresses Edward Said’s oversight of the region by placing the Central European nations at the heart of the East-West cultural divide. when widespread disillusionment with Communist ideology led writers to question previously orthodox interpretations of history. integration. which are declared as preferable and acceptable. especially tourism promotion videos. 1864) that illustrates a shift toward a more contemporary and critical image of national identities. Germany. integration. in contrast to the expansive Western empires. tolerance and the ability to adapt to a new environment are issues that often come up in today’s global society. In the absence of communicative memory. The ultimate aim is to verify whether the difficulty of the inquiry for information is a mere fictional element or is. combined with text messages. How does the comfort of “home” influence identity? How can you rediscover yourself abroad? Does cultural diversity increase prejudice? What does the idea of a “Paradise abroad” involve? These are some of the aspects. and later became transformed into a multipurpose metaphor for other forms of oppression. 1989). Czech and Slovak literature. Keywords: Spanish Civil War. ” (“Slovo o Turčínovi”..e. i. The author portrays entire families. contemporary literature. cultural identity Sabatos Charles D. children. Department of Slavonic Studies Cultural Memory in Contemporary Tourism Media Products: Culture-specific and Cross-cultural Perspectives Communication practices which are part of the contemporary media-culture are intrinsically tied to the processes of (re)creating collective identities. in these fictional works the lack of information generates a sensation of personal void and incompleteness. whose political and national independence was under direct menace from (and often overpowered by) Ottoman invasions. Gündisch’s characters are mostly East-Europeans or South-East-Europeans who try to make a living in developed countries of the Western World. In East Central Europe. a contemporary reinterpretation of the Slovak poet Samo Chalupka’s classic work “The Turk from Poniky” (“Turčín Poničan. For East Central Europeans like the Hungarians.60 relative whose life is mostly unknown by the enquirer. the Turks had a particularly profound impact on the formation of their history and identity. Keywords: Cultural memory in East Central Europe. the public demand and need for free access to documentary archives. a way for tracing one’s familiar past is provided by documents scattered in archives and depositories located all over the national territory. with Stanislav Komárek’s The Opšlstis Foundation (Opšlstisova nadace. Keywords: otherness. slogans. Since the narratives I could analyze mainly portray recherches characterized by countless obstacles. One of the possible strategies in the frame of the mediated communication practice is to connect traditional elements of cultural memory with new ones. The awarded author from a migrant background offers an insight into the above mentioned problems. In that way the collective identity remains on one hand “homogeneous”. the article is trying to explore. I find it useful to delve into the current Spanish legislation and politics of memory in order to provide an evaluation of the effective availability and accessibility of documentary material for a generic user. childhood. on the other hand it is the subject to change and dynamics. ” as developed by Andre Gingrich. Ludwig. Turkey Metafictional Turks in the Cultural Memory of East Central Europe It is only in recent years that the significance of the Ottoman Empire for the development of modern European society has been widely accepted in literary and cultural studies. Thus we can discuss the different stages of integration and the different attitudes towards it. much like their Western counterparts did in the approach which Linda Hutcheon has termed “historiographical metafiction. “Aurel Vlaicu” University of Arad. archive. The concept of “frontier orientalism. The paper focuses on the way in which cultural otherness is perceived by children and teenagers. Istanbul.” This postmodern skepticism is reflected in Pavel Vilikovský’s short story “A Word on the Turk. which uses a Czech historian’s research on the Janissaries for an ironic questioning of the Central European past. offering stability to the members of communication community. i. Ottoman Empire. are not only some of the most important narrative mechanisms in the presentation of a certain tourist destination. Such literature as that described above mirrors one aspect of democratic Spain which is common to many postdictatorial countries. they are also key elements of the mediated collective cultural memory and identity of the respective country presented in the tourism promotion videos. Considerations on intercultural aspects in Karin Gündisch’s novels Immigration. Be it due to the physical disappearance of that member of the family. The more “metafictional” use of the Turks also continued into the twenty-first century. The tourism media products.

In that sense. might be to reveal who we are. In this regard this paper will thus approach the cult of the romantic hero from the perspective of cultural history. the situations in which the ethnography is made impossible will be discussed further. drawing on the art and literature inspired by the historical figures that were the object of this new veneration as a key resource in analyzing some memorials and commemorative monuments –Horatio Nelson. or a variation of it through the staging of dramatic texts. in this case from an aesthetic viewpoint. Salomé Sola-Morales. The recollection of . But. John Moore. productive oblivion (Kuljič). University of Santiago de Compostela (Spain) The Romantic Hero’s Cult: literature and memorials In the West the cult of the remains and relics of heroes is a tradition that can essentially be traced back to Greek times. Europe Sandi Abram. shared norms and values. how is possible to create and keep this narrations today? To maintain a consistent and permanent image of a group it is necessary to invent different stories and memories about tradition. In fact. Consideration may also be given to historical works. By this way we will avoid the monopoly of a single form of discourse: either conservation or nostalgia (which idealizes the past and refuses to accept changes) or transformation or utopia (which idealizes progress and pretends to forget the past). As regards literature. which awakens the narrations and the regimes of memory as well as the regimes of memorization of the YPA. the tradition must be articulated between continuity and change. Napoléon. which are imposed as part of the ‘past’. their canonisation as heroes and the acts dedicated to their commemoration. which eternally marked members of its armed forces. First of all it is necessary to investigate the characterisation and circumstances that underscored the recognition of figures regarded as Romantic heroes. tomb. Furthermore. media narratives are polysemic reconstructions that make up much of the cultural memory and the tradition. Whereas the collected ethnographical material will sustain the claims above. tradition. the underlying intention of all expressions or traditional narrations. Romanticism.. Sánchez García Jesús-Angel. However. Above all. The re-emergence of the hero cult during a period as decisive in modern European history as the 19th century ought to be considered in conjunction with the political. narration. essays and newspaper articles. Keywords: Hero. the production of engravings. Keywords: communication practices. Through bodies permanently imprinted with socialist history and narrations of tattooed solders from the Yugoslav People's Army (YPA). and categorization of tattoos. from the very moment they start to be considered as such. plays and tales taking heroes as their subject. while proposing models. reflex silence or refusal of collaboration are all ways and modes in which I stress the importance of the »ethnography of absent« (Telban). with more linear and politically motivated discourses being overridden by other types of ideological and cultural considerations. University of Ljubljana TattooYU: Tattooed souvenirs from the Yugoslav People’s Army and the regimes of memory of the body inscribed with socialism The paper will focus on the first mass imprints on the body in the entire region of ex-Yugoslavia. Rejection. and it is a key in the formation of the cultural memory. the tradition is an inheritance that needs to be reactualized in the present. ideological and cultural realities of the time. Such analysis should precede any research into the tombs and monuments designed to glorify them through art. cult. the tattoos from YPA function as a mnemotechnical practice of recollection of the cultural memory. socialism and the period of (post)transition. visual and textual structures. the admiration they aroused and the fame accorded them. and focuses on the analysis of mediated memories as narrations that create and reproduce the sense of a group. And here is where mediated memories play a key role in maintain and reinterpret the past. Among the literary works to be referred to.61 specific and cross-cultural strategies relevant to the creation of the collective identity. the media provide traditional accounts that meet the heiress need of human beings. From our point of view.. deciphering. Tadeusz Kościuszko. as all these sources are of use in collating views commonly held in the act of glorifying heroes. along with the social and political functions. In this vein. This vibrant phenomenon will bring me to the problematization of the reading. I install tattoos from YPA in-between the subversion of power and the incorporation of the dominant ideology. The “reception” of heroes in literary and pictorial works on occasions served as a type of preliminary mausoleum for hosting and projecting the memory of the hero. Keywords: mediated memory. The analysis will be based on the Critical Discourse Analysis. in the antithesis between uniformity and subjectivity (collective and individual identity). And a speech that prioritizes or focus exclusively on one of the two axes proposed would impoverish cultural memory and human temporality. attention will preferably be given to poetry. paintings and reliefs represents another area of interest for expanding on the glorification of the Romantic hero. they can do. respectively the analytical framework of the “Grammar of Visual Design” by Kress/van Leeuwen. Autonomous University of Barcelona Mediated memory and the configuration of tradition This paper explores the link between mediated memory and the tradition. community. tourism media videos. the renewal of the hero cult in Europe from the Romantic era onwards cannot restrict itself to the study of their tombs and memorials as archaeological pieces. even before his tomb had been constructed. they represent a fertile springboard to discuss notions of counter-memory (Foucault). August von Gneisenau. cultural memory. that create the sense of a community. Given his background. Our study fits with the contributions of Maurice Halbwachs and Jan Assman. forgetting (Ricoeur) and the »eloquent reticence«.

In the immediate aftermath of the war. Kristina: Charles University. My paper is a first attempt to unlock the specific Roma/Ashkali/Egyptian memory of the Kosovo War by making their voices heard. they became involved on one side or the other – some voluntarily. Memory. trends and gastronomy landscape in Czech households. the traditional position of Roma/Ashkali/Egyptian communities to refrain from involvement in Kosovo politics was no longer an option. Faculty of Social Science. The grandmas´ cuisine is usually traditional. Ashkali and Egyptians became the target of a campaign of violent retaliation. starting from the first attempts to revitalize it and promote it made by regional agents in the '70s. The significance of this project for purposes of cultural memory is accentuated by the fact that here is where the Baška Tablet was found. most coerced and under pressure. and propose ways of introducing Roma testimony into the general discourse of the recent past. economy and gastronomy. Glagolitic Alphabet. Czechoslovakia at that time was the leading democratic republic in the Middle Europe – in politics. Erected in 1976. a 7 km memorial lane created in Istria thanks to the cooperation of artists and intellectuals and composed by eleven sculptures and commemorative headstones representing the history of the development of the script. the first Slavic alphabet. How to get to know the real origin? The ideal source seems the former cookbooks and media.62 negative sentiments (as a way of “activating” the past) did not only materialize in tattooees' non-responses. tattoo. as many Albanians regarded them as willing collaborators in the repression of the Albanian community during the years of Serbian rule. ideology Schulze Rainer. destruction of their property. University of Essex. Oral History Roma (Ashkali. When Kosovo’s autonomy was revoked in 1989 by the Miloševič regime in Belgrade. widely read and spread during the 1920s – 1930s. the fate of the Roma. Prague. I see those practices as a preliminary phase of oblivion and as ways of “de-ideologization”. which conserves the past in the memory. University Ca' Foscari of Venice Cultural memory and national identity in Croatia: the case of the glagolitic monuments My paper aims at presenting a particular pattern of cultural narrative expressed in the creation of monumental works and memorial paths in Croatia and connected with the use of the Glagolitic script. Both within Kosovo and outside. One of the first examples I intend to present is the Glagolitic Alley. cicatrisation. with its material constitutional side on the body – the tattoo. Ethno-Symbolism Šemberová. I supplement Connerton's »habitual memory« preserved in the body. Inclusive. up to contemporary times. nostalgia. Collective. Roma were subjected to physical abuse. Instead. Did the media reflect the development and changes? How did they form the nutrition and cooking habits of the postwar generation? This text should give the answer according to the analysis of the articles in eight Czech magazines and give a report about the topics. it was meant to mark the 500th anniversary of the first mention of a Croatian printed book and 11 centuries since the creation of the Glagolitic. National Identity. others to neighbouring countries. using interviews that I am currently undertaking. After the institution of an independent Croatia. memory. their experiences and memories remain widely unconnected to the wider narrative and collective memory of the conflict. I will also discuss the impact that a continued lack of acknowledgement of their experiences and memories is likely to have on the region’s future. Institution for Communication Studies and Journalism Our grandmas didn´t eat just porridge What are your favourite meals? Did you eat them at your grandmas´ tables? The meals we consume in the early childhood forms our eating habits for the whole life and attitude to national cuisine. some fleeing to Western Europe. strengthening the pain-tolerance threshold. Up to 100. Glagolitic Monuments. Egyptians) Selvelli Giustina. This text looks on the articles with the gastronomy topics in Czech lifestyle magazines focused on women in the period 1918 – 1938. rich in nutrition and tasty. Kosovo War. The promotion of this alphabet has continued with the erection of more monumental works and with another significant project such as the Baška Glagolitic path. The German NGO Society for Threatened Peoples called the events in Kosovo ‘the worst Roma pogrom since 1945’. Keywords: Croatness. The roots and recipes can be traced back to the past generations. Keywords: Ethnic conflict. In my presentation I will follow the passages that made this alphabet an element in the construction of a discourse of 'Croatness'. rape. and the first mentioning the ethnonim “Croat”. rites of passage. The published recipes and food articles show us the daily life in the 20s – 30s and . one of the oldest monuments to feature an inscription in the Glagolitic alphabet. Furthermore. 000 Roma. This period was very significant in the history of Czech Republic. Keywords: Yugoslav People’s Army. and outright murder. The international peacekeeping force proved ineffective in protecting them. etc. United Kingdom Too Painful to Remember – Too Painful to Forget: Roma Memories of the 1998-9 Kosovo War In the armed conflict between ethnic Albanians and ethnic Serbs in Kosovo. democracy and freedom between the wars. Roma. and many ended up as IDPs in makeshift camps. even though they constituted a significant proportion of the overall population and one upon whom the war had an enormous impact. Ashkali and Egyptians became uprooted. Ashkali and Egyptian communities has been largely overlooked. consisting in 34 sculptures reproducing the letters of the alphabet in the Island of Krk. Prague among Paris and Wien belonged to the most interesting and innovative gastronomy European towns. the same alphabet became an useful element to propaganda purposes of a part of Croatian society that linked it to rhetorics exalting distinctiveness from the other republics and that sought to appropriate it as an exclusive element of identity. when this alphabet has officially reached the status of symbol of national identity. During the armed conflict. it was the first time of independency. eviction from their homes. surgery) that do not fit into the classical ethnographical milieu as practices of embellishment. Individual. The tattoos from YPA also triggered practices of permanent tattoo hiding (cover-up.

ethnicity. Croatian Literature.as the authors conclude. embodied in Yugoslavia’s “brotherhood and unity” to a super nationalistic one.др. Морозова. the canon comes in the nineteenth century. St. depicted in the aggressive purity of the ethnos and nationhood in the 1990s. which Quintilian called poetarum iudices. Petar Hektorović) and his "conversion" to the cultural memory. А. the paper investigates. IMT. наряду с непротивопоставленными лексическими маркерами традиционной культуры (лексика мифа и религии). 1918 – 1938. Реализуемые и нейтрализуемые в македонском диалекте Голо Бордо оппозиции "старое и традиционное . Mavro Vetranović. Соболев) в ходе экспедиций 2008-2010 гг. patriarchal definitions of male and female imagery and their subsequent ethnic stereotypes. Ермолин. having Republic of Macedonia as a case for analysis.славянское". In this sense. mainly through the institutionalized praxis of socio-cultural reproduction of inequality. to a higher extent in the super nationalisms of the Nineties. Additionally. The passage from a supra national idea. Emilija. Petersburg State University. С. multiculturalism. Finally. psychoanalytic. Starting from modern literary-theoretical insights. Cvetanova. Russian Academy of Sciences.чужое". Poststructuralism. Italy The (De)construction of Yugoslav Identity: Gendered Imagery and Ethnic Stereotypes in Croatian and Serbian Film Production During the Nineties Media representations of ethnic imagery. Piazza San Ponziano 6. nationalistic rhetoric fueled Foucault’s so-called praxis of “bio-politics” where political actors were officially enforcing (pro-natal) hetero-sexual policies. symbolism Sobolev Andrey. what is now in Europe a big issue. Renaissance. Keywords: myths. heavily shaped nationalistic discourses and state propaganda. in which men were seen as the main protectors. film. Memory. how and to what extent Croatian and Serbian film production during the Nineties influenced the (de)construction of Yugoslav identities. С. Н. Rudolf Pfeiffer notes that the verb έγκρίνειν (engkrinein) denote a list of selected authors. Therefore reproductive processes became as well part of reproductive ideologies. University Ss. С. Д. Therefore. As the national need for diversification grew. Džore Držić.. Institute for Advanced Studies.новое". identities. feminist and postcolonial criticism. "турецкое . using them as mobilizing factor for war. Nikola Nalješković. gender. А. The theoretical framework includes different viewpoints about the role and the function of myths in various types of political regimes: from strengthening the cohesion of a nation to their abuse in political propaganda. which. stereotypes. Krešimir: Filozofski fakultet. woman magazines Šimić. the function of the national mythology is very specific as well. Албания В докладе по тематическому блоку "Культурная память и продукты культуры" будет рассмотрено творение культурной памяти проживающих в Албании в краине Голо Бордо славян-мусульман. the new historicism and cultural materialis have given new insights on the formation of the canon. Osijek Literary Canon of Croatian Renaissance Culture The literary canon has been known from ancient Greek and Hellenistic culture. this paper will analyze the constitution of the literary canon in Croatian renaissance culture (Marko Marulić. Transmission and creation of myths in Macedonian society have proven to have important role in political mobilization and creation of political culture. family food. influenced the reemergence of traditional. Cyril and Methodius -Skopje Myths and Identities in the Macedonian Society The paper deals with the impact of national myths on the political culture and behavior of the population. influencing in a great deal . women became equated to nations representing their material borders while men had to fight and safeguard the nation from the enemy. Keywords: Gastronomy. Дугушина. Marin Držić. М. The annihilation of the “other” nation by invading/penetrating enemies’ nation/women eventually turned gender into territorialized ethnicity. Germany Культурная память в языке славян-мусульман Голо Бордо. Only if we know our past we can head towards the future. Материал для доклада собран группой российских лингвистов-диалектологов и антропологов (А. Keywords: Literary Canon.гяурское". 55100 Lucca. Women started to embody symbols of national purity and honor while one of their main responsibilities was to serve the “courageous” men and reproduce the nation biologically. women simultaneously started to acquire “territorial” characteristics representing the symbolical boundaries of the nation. In the center of the literary-theoretical reflection. nationalism. were strongly manipulated both in socialist Yugoslavia and. especially in times of turmoil. Philipps-Universitaet Marburg.63 give a lot of tips how to survive in the years of financial crisis. ethnicity Sinčić Mateja. . "албанское . позволяют рассмотреть варианты дискурсов о "себе" в их взаимной дополненности и постоянной динамике. This example is chosen due to a very specific history and present composition of the country (regarding ethnic and religious background of its citizens). Czechoslovakia. "свое . The case of Macedonia is analyzed through research data gathered by the authors in the past decade. when the mega force of nationalism escalated in warfare. А. Šiško Menčetić. History Simoska. Keywords: Yugoslavia. "родной неродной" и мн. the dominant political values in the society. Ganka: Institute for Sociological Political and Juridical Research. Новик.

identity. is in my opinion one of the reasons for so-called Yugo-nostalgia. which has been for a long time very much alive (especially among Croats). Croats and Slovenes. is now pulled by two ends: the memory of a cultural-constructing ritual on one side. дискурс о "себе" Soellner Louisa. when the Kingdom of Serbs. which could be called an invented tradition. memory. "свое . present and future have to be discussed together for a real Keywords: carnival. Alexander I of Yugoslavia. Department of American Literature Reforming Revolutionary Myths: Photography in Castro’s Cuba and Tania Bruguera’s Tatlin’s Whisper#6 My paper introduces responses to photographs that emerged in the early years of the Cuban Revolution. as well as the possibility of re-framing pictures and thus unsettling dominant approaches to a shared history. The ritual that more than anything else shaped the national memory and identity of this country. My research will focus on the idea of Yugoslavism. which the first Yugoslavia was founded on. and the consumerism of a touristic product on the other side. unfortunately. Yugo-nostalgia . but has. and the space for the celebration of a new interethnic national identity. and to the better-selling Brazilian carnival. “traditional mas”. The scope of the paper is twofold. Textes. Carnival. Théâtralité. Yugoslav Myth. as a ritual of amusement and temporary freedom. Discussing Tatlin’s Whisper#6 will allow me to pose questions about tensions between personal and collective memory. it is in carnival and for carnival that Trinbagonians have successfully fought against the British to gain their freedom. Bruguera’s piece illustrates the degree to which iconic photographs of Castro make up part of collective memories and mythologies in Cuba. and to the year 1934. "родное . attracting especially the many Trinbagonians abroad.64 Ключевые слова: культурная память. and a reality of “bikini-and-beads” costumes. Keywords: Photography. therefore “the members of the same tribe” during the period of Alexander’s rule can easily become “brothers” during Tito’s period. was at the Paris Peace Conference in 1919 presented as the absolute truth. The history of this ritual is strictly connected to the process of cultural decolonization and political independence of the Caribbean country from the mother(is)land. but it juxtaposes the evocation of these pictures with voices that usually remain unheard. I will take into account the first Yugoslav period. Imported in the Caribbean by French planters. as every other carnival in the world. University of Ljubljana. National Identity. The loss of cultural memory has created a huge void in the collective memory of Serbs. claiming a space and celebrating freedom from any kind of oppression. лексические маркеры традиционной культуры. Photography was a key medium for creating. Having said that. Cultural Memory. obtained through the ritual itself. for the first time in the world. When Alexander and the first Yugoslav period were erased from the cultural and political memory. The work reiterates the scenario with the crucial difference that the leading parts (that of speaker and photographer) are played by Cuban visitors of the Biennial. which will be the last subject of my paper. I must point out that I am interested in the period from 1918. The idea. Will Trinidad carnival be able to defeat consumerism and neocolonialism. Department of Ethnology and Cultural Anthropology Mythical Birth of Yugoslavia and its Influence on Slovenian National Identity In the following paper I would like to present the impact which the mythical birth of Yugoslavia had on the process of building Slovenian cultural memory and national identity. македонский язык. Keywords: Yugoslavia.новое". and cementing myths about the Revolution and its leaders. the instrument to earn an actual and non-temporary freedom. Propaganda & Resistance. Memory and Identity The carnival of Trinidad and Tobago is a performative ritual of cultural resistance and awakening. Croats and Slovenes was formed.неродное". they began to play the role of Others in the cultural identity of Serbs. The main figure of the first Yugoslav period and one of the most important political figures of the time was “the forgotten king” Alexander I of Yugoslavia. Tania Bruguera’s piece Tatlin’s Whisper#6 (staged at the10th Havana Biennial in 2009) revisits well-known photographs of Castro with a white dove perched on his shoulder that were taken on 8th of January 1959. ironically very close to the “pretty mas” that was imported from colonizers. And although the term Yugoslavia nowadays usually refers to the period from 1945 to 1991. and north-Americans. Globalization Sofo Giuseppe. spreading. Faculty of Arts. Performance Art. carnival in Trinidad and Tobago became. "албанское . "старое и традиционное . the relevance of acts of picture taking for the fabrication of cultural myths. LMU Munich.гяурское".чужое". Université d'Avignon et des Pays de Vaucluse Laboratoire de recherche identité culturelle. On the other hand I offer suggestions about the intricate manner in which photographs switch significance through re-contextualization and thus can become a powerful tool of subversion in contemporary Cuban art. Caribbean Špelec Sara. which has been equally important in the process of creating cultural tradition of its inhabitants. The loss of mythological roots. славяне-мусульмане Голо Бордо. and a way to attract tourists in one of the less touristic islands of the Caribbean? Past. Croats and Slovenes (I will focus mainly on Slovenes). been deliberately erased from their cultural and political memory. On the one hand it aims at introducing the role of propagandistically engineered cultural memory in the context of Cuba’s Revolution. The present of carnival is divided between the memory of its glorious past. cultural resistance. "турецкое . when Alexander was assassinated. or will it just become another ritual of temporary freedom.славянское". particularly with respect to some of the iconic pictures taken by photographers such as Alberto Korda or José Pepe Agraz.

This thesis could. Furthermore. Valahia University of Târgovişte Memorializing as resistance: Inscriptions of the nation’s body and soul in Timothy Mo’s The redundancy of courage The present paper examines Timothy Mo’s quasi-fictionalised memorial to the genocide inflicted by Indonesia on the emerging nation state of East Timor. kao čitavog procesa a ne stanja. The paper focuses on the narrative’s avowed function as a testimonial before the world about the young nation’s epic resistance and. genocide Stanković. kao i opravdavanje razloga opstajanja muzeja i potrebe korisnika za komuniciranjem sa muzealijama zarad afirmacije identiteta koji stvara samopoštovanje. U radu se će se govoriti o poimanju identiteta i oblicima njegove prezentacije. Kao posledica dugoročnih zatvaranja krugova. However. tj. At the end. displaced. following its occupation in 1975. ali i otkrivaju strukture dugog trajanja. Norra’s definition does not include only material spaces and places. a spatial form of erotized social psychiatry. spaces of memory. the significance of oblivion in creating a group’s memory will be recognized. its battles and its dead. u naučnom i teorijskom saznanju moderne muzeologije. Keywords: colonial. narrated into being and kept alive through the ongoing narration of its birth. coerced to develop an attitude. send us back to mechanisms of cultural and individual memory. images and objects. more importantly. of heritage itself as a phenomenon that combines different cultures with use of the past in present and guarding it for the future. as a way to revive the past eras and to place events. discursively constructed body. oblivion. but could also encompass the more abstract ones – any idea of making connection with a past in literature. učvršćuje identitet i pomaže društvu da se homogenizuje. interrupted by the aggression of neo-colonial powers serving the vested interests of global capital. heritage. članica bivše Jugoslavije je stvorila politiku. Štatkić Milena: Filozofski fakultet u Ljubljani. at the same time. Cilj predmeta istraživanja ovog rada je predstavljanje rešenja spora između muzeja kao institucije elite i potreba savremenog društva. people and phenomena in our memory. It also dwells on the use of the traditional imagery of the body in representing nationhood as a unique organism. U tu svrhu bi trebalo da se koriste oni pojmovi koji najbolje prikazuju istoriski prostor. sa posebnim naglaskom na poruci koja nije utemeljena na muzejskim predmetima. društveno pasivni ekskluzivitet. korisnika. The Sighet Memorial vs. The Redundancy of Courage (1991) chronicles East Timor’s colonial and postcolonial history and its arduous process of national identity formation. The first part of this paper would refer to a difference between biological and neurological foundation of memorizing and. the trauma. Faculty of Philosophy. koja je kao takva prevaziđena u savremenom muzeološkom shvatanju. uloge i funkcije pojma identiteta. pa se i danas u velikoj meri osećaju posledice zatvorenih sistemskih režima. neo-colonial. Somehow. In the third part of the text. koji su artificijalno izvučeni iz svoje sredine. With a view to healing. u muzejskom prostoru. The exorcism and. national identity resides in the inscription and preservation of its collective memories.65 Stănescu Angela. Ultimately. Isidora: Center for Museology and Heritology. on the other hand. Komunikacija. Potrebe savremenog društva Stoie Sînziana Maria. nametnuto je mišljenje da je kultura elitistički. on the other hand. kao i u društvenom doprinosu konkretne primene uočene problematike. U svrhu očuvanja i prezentiranja baštine sagledava se pitanje poistovećivanja korisnika muzeja sa skladno uklopljenim prepoznatljivim prostorom sa jasnim identitetima. In analysing the rhetoric of nationalistic discourses. University in Belgrade Spaces of Memory – “The presence of absence” The cultural memory and oblivion mechanisms The aim of this paper is to emphasize the role of tangibility. the Museum of Communism A museum of the totalitarianism – in the sense given to the term by Hannah Arendt – represents a contrasting “architecture” where the individual is embedded in the structures of the collective past. Ključne riječi: Baština. etc. national identity. . uzdignuta na pijedastal muzealije sa strogom distancom i politički neutralnim stavom. University of Bucharest Faculty of Letters Frames of Social Memory in Postwar Romania. prepoznatljive u sadašnjosti određenoga zavičaja. According to different scholars cultural memory is frequently bounded to concrete manifestations – spaces. The second part of the paper will be dedicated to Pierre Nora’s definition of spaces of the past. Identitet. music. therefore. nation state. the social aims that create relevant toponyms so that the group could more easily be identified with its past. Medijator. pa je tako i prezentacija predmeta. its growth. especially material places relevant for different social or interest groups in preserving and communicating with the past. gestures. Keywords: Memory. koja dugo nije davala žnačaj prosperitetu kulture i u mnogo čemu je uslovljavala. Doprinos nauci ovog rada se ogleda u određivanju mesta. as its foundational heroic epic – the discursive battle of memory against oblivion. more or less. Heritologija i Muzeologija Muzejski prostor kao medijator procesa identiteta Krizna situacija poslednjih decenija na području zemalja. spaces of memory will be regarded as the places of cultural encounters. but also its importance in creating mechanisms for remembering different aspects of the past. već na prepoznatljivim i značajnim odrednicama prostora koje se predstavljaju kroz istorijske periode i specifične simbole. Nora’s ideas of spaces of memory would be linked with Foucault’s idea of heterotopias – a way of intersecting things that could or could not be seen in realm of time and space. it highlights the key tropes and images deployed in figuring the nation as a new. with the purpose to avoid oblivion.

a town in the north of the country. However. as a way of reviving the collective memory. creating a museum of the communism is perceived as nonsense. retroflection is the mechanism of creative adaptation. clearly visible in almost all fairy-tails and proverbs. i. where the religious discourse has more power over the scientific one. It represents a split within the self. history and memory transmitted through public monuments and architecture. Based on it. In most states of the former Eastern Bloc there are a series of museums dedicated to the communist regime. The paper will attempt to interpret the new social circumstances from . Holly Trinity . and is deeply embedded within our cultural identities. to acknowledge what it is and to provoke change. we can find examples of such retroflective behavior that emerges as a part of our cultural memory. there is the possibility that the Triad of a family (Alexander. by being emptied of their real historical background and significance is apt to adopt the spiritual meaning of the Holly Trinity. The Romanian post . Keywords: creative adaptation.new narrative in the figures of Alexander. as a new process of identification for the Macedonian people. The Sighet Memorial. Gestalt Institut Skopje Retroflection as a creative adaptation in the cultural memory of Macedonians In gestalt therapy theory. the aim of this paper is to discuss the influence of the retroflection. as well our antecessor were raised. Zivanovic Radmila. we. therefore concluding that these figures deserve the most attention) – the statues of the ‘’Warrior on a Horse’’ and Phillip II of Macedonia and his wife Olympia. In the “postmodern”. this place is not made popular enough. as semantic knots begging to be interpreted. Marry and Joseph. With constructing official buildings and edifices. by two writers. Keywords: meta narration. something that very proud of. Various historical events will be analyzed and discussed in this paper in order to justify proposed thesis and to raise awareness about what it was. Accordingly. communism. taking the place of Jesus. tailoring us to become those who we are. As the story unfolds. Even today. Department of General and Comparative Literature What historical narrative will the future generations have with the project ‘’Skopje 2014’’ The aim of our paper is to try and present what the Project ‘’Skopje 2014’’ would leave for the future generations as a national historical narrative that would represent the official history of our country and nation. contemporary history Stoimenova Canevska Emilija. Unfortunately. often becoming psychosomatics. Zdravko: Center for Culture and Cultural Studies Attempts to re-read the Macedonian history.Revolutionary realities expose more the recycling of the past under its persistent hypostasis than the systematic comprehension of its discursive significations.e. adopting its own identity in the process of analysis and systematization of certain tropic discourse on which it is focused on. the museums of communism satisfy – besides their complex historical functions – our need for socially. holding back reflectively or acting furious and impulsively. . It is defined by Fritz Perls as an action that was once directed towards the environment but was turned back against oneself.66 the sublimation of our cultural and identitary memory and of our affects happen in such virtual or concrete environments which fall upon our consciousness and our emotions. gestalt therapy Stojanova Nikolina. Our analyses will provide sufficient theoretical support for this stand. building over 30 sculptures dedicated to the Macedonian past. and erecting bridges full of statues of famous authors and cultural activists. Moreover. There are plenty examples of such stories in Macedonian folklore that are deeply rooted in the cultural memory. The museums of communism reflect our contemporary history much closer. engendering us to be polite and nice. Keywords: museum of totalitarianism. Faculty of Philology . cultural memory. in Romania exists a Victims of Communism and of Resistance Memorial. the communist past still seems to play the curator role to our cultural memory and to our relatedness to the present. In Romania. “post-historical”. politically. Ana Blandiana and Romulus Rusan. founded in 1993 in Sighet. By trying to give some explanation of the entire project ‘’Skopje 2014’’ and by analyzing the personalities. Phillip and his Mother). International Balkan University Skopje. “post-human” era we live in. creation of national identity. The problem starts when the specific elements of the projects are analyzed since the interpretation can come to a dead end because of the elementary inconsistencies. alike the museums of Holocaust. defense mechanism or even a contact style. This creates endeavors without desired outcomes and depression and isolation at the end. retroflection. ideologically and culturally driven voyeurism and consumerism. collective memory. Given the present social context. The study aims at exploring the process of collective identity restoring in this particular “Institution of Memory”. as a mechanism that tinting our history. Blaze Koneski’’. cultural identity. public space. no matter from which epoch we are exploring. Stojkoska Vasilevska Marija. the identities of the most important figures presented (most important since the magnitude of the sculptures is the highest in these cases. is Macedonia presenting a truthful history of its past? Since modern theory provides analyses and contemplations of current cultural projects and events. the issue of continuity and the role of cultural memory The central topic of this research is the way Macedonian history is written and interpreted after the fall of the communist regime and the creation of the independent Macedonian state. its more than obvious that the retroflection is knitted and spread out by introjects. where "I am doing to self what I want to do to someone else" or "doing for self what I want someone else to do for me". setting up a museum of communism nowadays constitutes a debatable question of political and ideological legitimacy. Our stand is to try and demonstrate that in an atmosphere where the entire elements of the project are perceived as ‘’trops’’. Phillip and Olympia Stojkoski. thus the importance of rethinking this cultural project. and celebrated as part of our cultural heritage. stories of actions that were held back and not supported to rich out toward fulfillment and completion .

By creating a relation among the history. claiming that the demise of the welfare state is the result of excessive immigration. Today. how the process of memorizing and forgetting influences the interpreting and understanding of one's own history. Throughout these processes one constant has been how the memory and fantasy of the traditional Swedish welfare state has been used and fought over by different political parties. was named “Anzac Day” in 1916. and took place until 1987. identity. Fredrik: University West. Singidunum University (Belgrade. history. Bodies of nations and nationalities (“narodi i narodnosti”) were arranged in images of sun. the memory and the continuity. 25 April. the study and understanding of history will be related to the issue of individual. the research will try to answer the reasons for the current tensions on the Balkans. on 25th of May. Kirlar Barokas Safiye. . political fantasy. all embedded in Slet chronotope and embodied in memory of recursive ritual of celebrating The Day of Youth. in an uncanny nostalgic form of collective Yugoslav identities in the dawn of emerging ethnic conflict. Annually. the event of Slet served as a closure of delivering long traveled Relay of Youth with a birthday pledge to Josip Broz Tito from all people of Yugoslavia. The Battle of Çanakkale took place in 1915 and the relatives of the Australians and the New Zealanders (Australian and New Zealand Army Corps.e. as a result of the cultural memory that thousands of Australians and New Zealanders come to Çanakkale and participate in this memorial ceremony every year. Slets were held long after Tito’s death. It is. Rhetorically they have treated this in two ways: one is through arguing that nothing really changed and one is through pointing out how much has changed but without acknowledging their own part in it. identity Sunnemark. on the vocally echoed space of Stadium. culture. But it was also the Social Democrats who – under pressure from global economy – initiated the neoliberal transformation through a series of decisions in the 1980s. The main node of this has been an adjustment to the global politico-ideological trend of privatization and individualism with a down-sized public sector ruled by market logic. memory.. the date on which ANZAC Soldiers landed in Gallipoli. based on Titoist concepts of “brotherhood” and “unity”. Faculty of Media and Communications. The “son” of all Yugoslavian nations was placed high on the centered seat in the auditorium space. Keywords: cultural memory. and the relation to the history of neighboring nations and the wider region. the issue of continuity will be pointed out. and of phantom space of sovereign’s signature. This paper deals with the struggle to appropriate this memory and to represent the fantasy. These indicate the presence of their identity. In this context. Parallel with this Sweden has also changed from being relatively monocultural to becoming a more multicultural nation. Writing Tito’s name by bodies is in itself a writing of nations. Sweden Who Are We Now Then? The Welfare State Fantasy in Swedish Political Memory and Identity In the late 1980s and early 1990s the Swedish welfare state underwent a crisis which led to a dramatic transformation of society that has continued up until today. Furthermore. flower and at last in letters of president’s name. heart. The issue of memory will be taken into consideration i. as a lascivious jouissance in observing the festive young bodies writing “Tito” for Tito himself. national identity. and what does not. political memory. are seen as the architects of the ‘Folkhem’ (‘People’s home’). 8000 Australians and 2700 New Zealanders became martyrs in Gallipoli. continuity Stošić Mirjana. the ‘Folkhem’-metaphor has also been central for the xenophobic far-right (Sweden Democrats).67 the aspect of internal and external challenges and the negations of the Macedonian identity. The annual performances of celebrating President Tito’s birthday on the ground of JNA Stadium (Yugoslav National Army) in Belgrade was a cyclic renewal of forever youthful nation. Istanbul Arel University A memorial event as a reflection of cultural memory: “ANZAC Day” ceremonies Nations transfer events and/or phenomena which they experienced before and exist in their social memory to next generations. haunted repetition. as well as the right of owning a historic heritage. Republic of Serbia) Body-name – The Brotherhood Chronotope and Social Choreography In this research paper I argue that cultural memory is considerably produced. Discussing this spectrum. the paper deals with the Swedish welfare state as a political memory and fantasy and how versions of history always play a part in current politics. The Slet memory narrative is framed in haunting chronotope of spectral echoed temporality. ritual. Somatic topographies of nations and nationalities were manifested under a watchful eye of the marshal. A nation/culture continues to exist only if next generations retain the common identity and memory. Keywords: welfare state. Every year on 25 April. and also how the interpretation of history in certain periods and social circumstances influences what remains remembered as a part of the collective memory.ANZAC) visit Gallipoli every year and commemorate their ancestors who died nearly 100 years ago. The Social Democrats. rhetorical struggle Susar Filiz A. In that context. collective and national memory. sustained and reinforced through the performative strategies of staging media events and ritualized collective body-space and body-time relations. a strong metaphor in Swedish history. The ruling right-wing party (‘Moderaterna’) has done so through changing their rhetoric from criticizing the Social Democrat welfare-state to now being the only ones representing its core-values and the only ones capable of adapting them to a new situation. in power for most of the twentieth century. Media events and rituals are memory sites that produce imagined social connections and form a celebratory community experience. that enabled him to watch his politically charged and semantically blur nickname (Tito) being inscribed on the ground of stadium by the bodies of his subjects. undoubtedly. discourse. bodily mnemotechnics. media event. thus creating a mythical body-name of the sovereign. Australians and New Zealanders commemorate the ANZAC martyrs with a “Dawn Service” which takes place on the Anzac Cove (Gallipoli – Turkey) around 05:30 in the morning. Keywords: Macedonia. which influence the way of viewing and interpreting the Macedonian history. there are ceremonies and marchings in both Australia .

how do these shape Szekler-Romanian relationship in the public arena and how are post-communist EU-inspired concepts such as regionalism and decentralization used within these practices? Keywords: autonomy. along with several other categories of sacrificial action.Billiards in Dobray) I will introduce the placement of some forgotten populations Slovenian space during the Second World War in to cultural memory. identity. between Hungary and Romania.68 and New Zealand on the official holiday of Anzac Day.That night I saw her. Next to approaching the boundary areas of the country and the memory to the centre and cultural memory of a centre. Their memory and also the memory of them is erased. Questions about the persistence of piacular rituals shall be posed in the light of the presumed decline of the sacred in the modern world. Centre for interdisciplinary research ZRC SAZU Forgotten Topics of Slovenian History: Literature and its Contribution to the Creation of Cultural Memory This paper tries to show the literature as an important part of building and conservation of the cultural memory of the society. especially written by Drago Jancar (To noč sem jo videl . Questions about the different aspects of the purpose of the sacred practices. cultural memory. Within the interwar ideology of Transylvanianism developed a particular identity-construction phenomena based on the (otherwise transnational) rhetoric of geographical remoteness in relation to the center of power. event or commemoration which is an important part of identity. it also pin-points the reformulation of Szekler identity discourse in the Romanian post-communist context. and recent lore. which are often photos or objects that evoke the memory. because it had a wider range of stories. mythopoesis and lore. In addition. who were opposing to the partisans/communist takeover of country and were killed after the war. University Sts. the meaning of sacred practices. communism. The ideas of sacred space and sacred places as grounds for performative ritual acts shall be analysed in totemism. feel that they were connected on this land. In short. Drago Jancar addresses in his recent works also the World War II. Faculty of Philosophy. my analysis aims at providing insight into present linking of memory to territory as part of territorial nationalism and how such ceremonies shape the relationship with the Romanian Other. The concept of social memory shall be pondered . Šarotar in his work exposes the fate of the Jewish community in Prekmurje. Drevo brez imena . József Nyirő. In this context. I will address questions such as: what memory-cultivating practices are permitted today. The two nations. Cyril and Methodius Rituals and Memory – an Exploration of Primordial Religious Phenomena and the Persistence of the Sacred in the Modern World In the paper the sentiment of the sacred and religious ritualisation will be explored. identity-construction Tanko Primož. On the line suggested by Katherine Verdery in The Political Lives of Dead Bodies. Veterans and their families stand and observe a minute’s silence. ideology. In this case is also important that literature through biographical or fictional stories represents space and time. is also dealing with feelings of provinces and cities. More precisely. Apart from triggering a huge diplomatic incident last summer. sense of belonging Battle of Çanakkale Szedlacsek Petru Instrumentalizing Szeklerland Autonomy through Szekler Memory Sites in post-1989 Romania Szekler political and intellectual elites today benefit from a long discursive tradition on Szekler autonomy within the ‘nationalizing state’ – as Rogers Burbakers calls it – regardless if its Hungary or Romania. What the event means to the participants of the Anzac Day and what they recall about this day personally will be discussed in this study. places of worship). older practices are revived and popularized. emphasizing on the attempts to construct a Szekler life-world by linking memory to territory.. what is the aim of Szekler elites by popularizing such practices. either Budapest or Bucharest. public space. Balázs Orbán and Áron Tamási. which after the war no longer existed: a wealthy family. characters and situations and in this way is literature creating collective memory in a more concentrated form. On the case of some recent novels. who think that the legend of ANZACs and the ANZAC spirit began in Gallipoli. Institute for Philosophy. Cultural memory belongs also to individuals and groups and they have a common reference point. reminds the Holocaust and Hungarian domination. inventing and cultivating sites and rites of memory in Szeklerland – from pilgrimages to the funerary monuments of Szekler writers. through phenomenology of space (sacred places/profane places. anticommunism Todorovska Marija. In this respect. as well as the extent to which they differ shall be tackled in the context of totemic rites. the driving forces behind their participation and the significance of this event in the formation of individual and national identity will be examined in the light of analyses made on media texts and documentary films.A tree with no name) and Dušan Šarotar (Bilijard v Dobrayu . territorial nationalism. Keywords: Anzac Day. to the sanctifying of the Hungarian and Szekler flags in the public squares of Szekler urban spaces during March 15 celebrations – have enabled the Szekler-ization of geography. later religious phenomena. Keywords: Slovenian novel. my paper seeks to explore the manner in which discursive Szekler practices on memory have changed since 1989. one of my main focuses is on the interesting case-study provided by the failed attempt to rebury the famous Szekler pro-Nazi writer. and the nature of sacred understood by homo religiousus. cultural memory. which has lost their possession and have emigrated or was even executed and Home Guards. on (Szekler) Romanian soil. and collective representations. hymn and say prayers in dawn services. Often fictional literature creates a genuine feeling of a memory to some particular times or events. but the centre of his narrative focuses is on two groups. As parallel remembering to the official Romanian one is no longer silenced in Szekler public spaces as during communism. memory realms.

Besides. mediated and cultivated in collective and individual memories. The mechanisms of social memory and the identification through culture tend to sometimes complicate the creation of identity dependent on the memory. hence. although. Such a pervasive and insidious topic has forged an increasing international popularity for a number of Romanian writers whose novels have been translated into several European languages (e. the intellectuals. on its part. and also to describe the role of fiction in shaping the narratives of personal experiences. Various visions and plans of transformation of society have been offered by leaders of national movement. which. and are scattered through cultures as a reminder of a sacred past. teachers. with the aim to monitor a shift in accents. In the end. with strong focus on the state reputation in the postmodern world. painters etc. this text will offer short overview of the contemporary practices . or only make it more versatile and laden with rich complexity. Sacred sacrificial rituals and specific piacula are possible only with common interpretation of the “history”. this generation managed to come to the power of the state. Interestingly. Keywords: Tudzarovska-Gjorgjievska. although it becomes a subject of radical revision during a process of transition. and stereotypes about Romania in the Communist times. I will try to emphasize the inextricable link between individual and collective memory in contemporary Romania. depends on the organisation and the ritualisation in the functioning of the communities. Therefore the cultivation and its use of the cultural memories and the sense of identity is joint responsibility of the state. Lore. Memory Tsereteli. CERIS The cultivated memories and the sense of identity as competitive tools for the modern decisionmaking processes The set of values. Ivane: Institute of Cultural Studies. The power of identity strongly impacts the power of state and its nation.g. By analyzing some of these mainstream novels.69 in relation to the piacular rituals as the essence of the communities’ identity. Rituals. In order to become relevant. They have introduced some new accents into the policy debates. transcendent trough individual experience. The paper aims to analyze the dynamics of public discourse. By the end of 1990s next generation went to the stage. In this framework. This was the period when the first signs of civil society appeared. where they feel safe. Public Discourse. intellectuals. The power of memories strongly impacts the creation of identity. while on the other hand. society. protected and encouraged to contribute as citizens. the freedom of speech has led to the formation of a public discourse. who were more or less different from the “Soviet Intelligentsia” has started to talk on the future direction(s) of Georgia’s possible development and transformation. and this latter type of memory can be outlined by the mechanisms of the cultural and social memory. The nostalgia is one very strong memory of the citizens of the Republic of Macedonia. The use of this power and the chosen strategy for dealing with the collective cultural memories and identity’ heritage makes the differences among the emerging nation states in the competitive international scene. Piacula. Iv. The identification of the state and its nation in the new globalize world is one of the strong pattern of the modern decision-making processes and the main political acts. and mythical creatures that have been transformed into fable beings and fable characters. ideas and beliefs brings people together in their community. which lived in the Soviet times in their early childhood. the paper will try to find answers to the following questions: were there influences on a collective memory from the side of the above-mentioned processes? In what forms were they revealed? What is the influence of public discourse of the Georgian reality on the transformation of collective memory? Keywords: Collective memory. One of the most popular topics of the Romanian literature after ‘89 is the remembering of the Communist times. recent myths. By means of intriguing plots and authentic characters. West University of Timisoara Fictionalizing Memory: Memories of Communism in the Contemporary Romanian Literature. Thus. ‘Individual memory’ blends into our diffused memory. Emilija. the question arising is whether the different views endanger the ritualisation and obliterate the possibility for consistent social memory. remembering and forgetting. People’ collective memory can and should be used for creative and efficient decisions for shaping the modern collective identity. A new group of intellectuals appeared in the country after the dissolution of the Soviet Union. Since 1980s the debates on overcoming the Soviet reality has become active in Georgia. Dan Lungu). it will try to determine the influence of these processes on a collective memory. Javakhishvili Tbilisi State University The Dynamics of Public Discourse and the Transformation of Collective Memory in the Post-Soviet Georgia Collective memory is the subject of constant transformation and change. since it’s a form of expressing the need of identity and identification with the state they belong. this was the generation which used to be students during the Soviet times. many of these novels reconstruct genuine individual experiences by incorporating pieces of history. In the 1990s Georgia was found in a new political-economic and social-cultural environment. it is fiction – the most resourceful cultural vehicle – that may assure the preservation of our individual memory. the governments. A discourse of remembering and forgetting is an uninterruptable process. Keywords: Sacred. All of these will be recognizable not because they are ‘real / true’ but because they belong to the collective memory (Halbwachs 1950) of Romanian Communism (Boia 1997). This is also applicable to lore and the representation of phenomena and beings that are not necessarily sacred. like latent ritual initiations. Post-Soviet Georgia. poets. priorities and approaches. they necessarily have to be bridged. transformation Tucan Dumitru.

70 in cultivating the collective memories of the practical multiethnic cohabitant, suggesting that Republic of Macedonia, have reach cultural memory’ heritage which can and should be use as strong competitive decision-making tool in shaping our state influence and reputation among the emerging multicultural and multiethnic modern societies in Europe. This aspect emphasizes the need of relevant interpretation of the present in terms of the past cultivated cultural memories and the sense of identity in modern context, in order to decide on possible actions for the future. The summary offers an overview of the country-specific cope with the inherited values, specifics, cultural memories and identity in modern context and circumstances, as indicator of the citizens’ inclusion in the democratic decision-making processes. Keywords: Cultivated memories, identity, cultural memory, public memory, decision-making processes, citizens, nostalgia Tupchiienko-Kadyrova Liutsia, “Kirovograd faculty KNUCaA” of Kyiv National university of culture and arts

Letters and autobiography as a documented version of the past: a comparative analysis
Method of natural texts structuring allows us to distinguish such structural elements (SE) of a text, as an Author, Appeal to the addressee, Events of personal, socio-cultural and creative life (creation, performance, of works), Works, Emotional evaluation of events, people and works. This helps to determine the composition of SEs, and to make a comparative analysis of different documents. For example, at the outbreak of war, Yu. Meytus wrote to his family (we give SEs in parentheses, before the quotation): (Congratulations) "I warmly congratulate you on the New Year", (Wish) "I wish you to return to our Kharkov and for us to be reunited", (the Event and its emotional evaluation) "I hope that you read the latest reports and rejoice, as we do, that the offensive has begun, and that bandits are chased" [The letter, 2 January, 1942. Central state archive-museum of literature and art, Ukraine, f. 182, op. 2, ed. 255, l. l]. The general attitude of this and other letters is optimistic. Occasionally there we can find complaints about absence of musical environment, about lack of habitual conditions for comfortable creative work: of paper or light. Often these letters are business-like, they contain information on the social and musical life, etc. It is interesting to compare the type of information that he chooses for his autobiography, and the letters, and the way he records it. Even a superficial comparison shows that all emotional, value judgments recede into the background, and such social factors, as education, work, participation in social and music life, come to the forefront. Letters provide us with valuable information material for studying the creative life of artists, and for studying a country's history through the prism of it’s perception by individual representatives of cultural sphere of life. Autobiographies serve as major information milestones of a human’s life in a society. Keywords: Yuliy Meytus, archived artistic heritage, correspondence, structural analyses, Great Patriotic War Urban-Podolan Aleksandra Зеленогурский университет, Польша

Кладбище как пространство памяти (на материале прозы Валентина Распутина)
«Родина – это земля и могилы. Народы, теряя память, теряют жизнь» – эти слова, принадлежащие французскому маршалу Фердинанду Фошу, заставляют задуматься насколько важны для самосознания как всего народа, так и отдельного человека, проявление уважения и внимания к местам захоронения предков. По словам польского исследователя, Яцека Кольбушевского, каждое посещение человеком могилы близкого подтверждает потребность хранить память о покинувших сей мир сородичах, которые однако продолжают оставаться в мыслях и чувствах живущих. Кладбище – это пространство памяти, которое создает своеобразную общность живых и мертвых. Кроме того, кладбище выступает как своего рода знак, обосновывающий право собственности данной группы людей (народа) на данную территорию. Именно так понимаемое кладбище изображает В. Распутин в повести Прощание с Матерой (1976). Жители заглавного острова, который оказался в зоне затопления, пытаются предотвратить ликвидацию деревенского кладбища. Сцена его уничтожения санитарной бригадой и защиты его материнцами является самой эмоциональной в произведении. Для главной героини – старухи Дарьи, кладбище является звеном, связывающим поколения, знаком прошлого, без которого немыслимо будущее, а почтительное отношение к могилам покойных предков является показателем гуманности, как индивидуальной, так и групповой. Посягательство на самое сокровенное, самое святое, т.е. прахи предков, в понимании старушки, лишает человека той нравственной опоры, которая позволяет ему называться человеком. С уничтожения памяти о тех, кто жил до нас, начинается деградация человеческой личности, разлад с самим собой, а затем утрачивается и связь с традицией, религиозной моралью, исторической памятью и человечеством в целом. Поэтому, окончательно потеряв надежду на сохранение или перенесение кладбища, старушка делает заключение: «Оох, нелюди мы, боле никто». Тема сохранения памяти о покойных близких затрагивается В. Распутиным и в других произведениях, в том числе в повести Живи и помни (1974), где повествуется о покойниках, умерших насильственной смертью, а также в рассказе В ту же землю (1995), в котором внимание уделяется нелегальному кладбищу, созданному городской беднотой. Благодаря приему несобственно-прямой речи, к которому писатель нередко прибегает в своих произведениях, в них с убедительной силой звучит авторский голос, ратующий за сохранение народно-христианских устоев в атеистическом, идущем в ногу с научно-техническоим прогрессом обществе. Ключевые слова: русская литература, Валентин Распутин, деревенская проза, кладбище, захоронение Väänänen, Aino-Reetta: Helsinki University, Finland

JNA and the Yugoslav identity. The case of Mujo and Đole.
The purpose of this this paper is to examine the role of the Yugoslav People’s Army (JNA) in the forming of a Yugoslav citizen. Can we find an agenda of forging a particular Yugoslav identity through the JNA? Was the agenda official? How effective was it

71 in reality? What characteristics did it have (common language, the partisan myth etc.)? The military service in the JNA is investigated as building material in creating and strengthening of collective Yugoslav identity. For the purpose of this study, I view JNA as represented by the shared memories, nostalgia and emotions of the men who served in the JNA. My analysis is textual and contextual: I analyse the material in the light of the theories of identity and collective identity according to Hall (1996). The theoretical framework bases on social constructivism, the idea of reality as a social construction, as presented by Berger and Luckmann (1966). My research material consists of interviews with former JNA servicemen, who served together in Pej, Kosovo, SFR Yugoslavia. These interviews are reflected through recent research that include Bojan Dimitrijević’s article Armija i jugoslovenski identitet 1945–1992. godine (2006) and Tanja Petrović’s article Nostalgia for the JNA? Remembering the Army in the Former Yugoslavia (2010). My analysis indicates that, within the JNA, there was a set agenda for creating a strong collective Yugoslav identity, a Yugoslav citizen. Further, the results point out that the shared experience in a multiethnic, Yugoslav society, with the imposed lingua franca, Serbo-Croatian, had a significant impact and the shared memory of the military service in the JNA stays strong. Keywords: Yugoslav People’s Army, identity, construction, memory, agenda Vasiljević Marija, Centre for museology and heritology, Belgrade

Biography: all lives of (former) museum objects
With "life history of things" approach, developed by archeologists and anthropologists, we, as museologists and heritologists, can identify meaning transformations of the same thing, from its creating till today. This "biography" approach suggests thing’s unforeseeable semantical potential. So, museum object is not just evidence of certain past, but it potentially testifies about all its pasts, i.e. realities. This premise is recognized as a starting point for insight and analysis of different memory cultures and its transformations through the thing’s "life", and for developing a fusion between heritage theory and museology, memory culture and biographical approach to things. We can identify presences and absences in collective memory and its ever changing interrelation, organized or spontaneous, with personal memory and memory of other groups, like family. Thus, (former) museum object is potential testemony of its museum sojourn, professional, social and political contexts of acquisition, interpretation, presentation and, at last, putting away in boxes, or of its shifting to another institution. These premises are examined on example of entirety of former museum objects from, now closed, Museum of Illegal Partisan Printing-Houses in Belgrade, Serbia and museum objects from other "party" museums, like former Museum of the Revolution of Yugoslav Nations and Ethnic Minorities in Belgrade. Keywords: Life-history of things, "biographical" approach, museology, memory culture, "post-socialist" context Vojak, Danijel: Institute of social science “Ivo Pilar”

Relation and attitude of the young people toward "problematic/difficult past" of the Second World War (1941 – 1945) and the Homeland War (1991 – 1997) in Croatia
Institute of social science “Ivo Pilar” is one of the sixteen research institutions from 14 European countries participating in the research project MYPLACE (Memory, Youth, Political Legacy And Civic Engagement) on the theme „Democracy and the shadows of totalitarianism and populism: the European experience”. One of the goals of this project is to explore how young people's social participation is shaped by the shadows (past, present and future) of totalitarianism and populism in Europe. This project is diveded into ten sections ("work packages”), and within the second one, “Interpreting the past (The construction and transmission of historical memory”), is analyzed young people’s interpretations of the “difficult”/”problematic” period in the national/regional history. In Croatian context it is analyzed “difficult period” of the Second World War (1941 – 1945) and the Homeland War (1991 – 1997). Research is methodological based on expert interviews and focus groups with young people in the ‘sites of memories’ (Jasenovac Memorial Site and Croatian History Museum) and analyze of the relevant sources and literature. The intention of this presentation is to analyze the results of this study with special focus on how are the “problematic”/”difficult” periods in the national history of Croatia represented and interpreted in the “mainstream” historical discourse and to find out how are theses historical memories experienced (interpreted, internalised and enacted) by young people. In other words, one of the goals of this presentation is to point out some of important aspects of traumatic moments in recent Croatian national history and to find out how it is, this kind of “cultural memory” transmitted across young generations. Keywords: Youth, History, Croatia, memory, Second World War, Homeland War. Vojak, Danijel; Tomić, Filip, Institute of social science “Ivo Pilar”

Cultural memory on the "great" people in the "small" town: Perception of the King Aleksandar Karadordevic and Marshal Josip Broz Tito in the cultural memory of Samobor
Nowdays we can defend thesis that ''history is written by the winners'' and therefore ''mainstream'' history can be understood as revised and politically instrumentalized mean of certain nation's ''cultural'' memory, which some consider as ''history of selective memorization and selective forgetivness''. In contemporary Croatian historiography most approaches which are focused on historical periods of monarhist and socialist Yugoslavia starts from the ''greater national'' themes. Similar preoccupation has not balked neither those historiographic approches which, as the main focus of their interest, put problems of analyzing and understanding how collective memories are being constructed. However, our aim here is to move from the ''greater'' themes to a ''smaller'' (local) setting. The example of a small Croatian urban centre, like Samobor, is going to serve us as theme for

72 analyzing in which way in that local setting rulers of two Yugoslavias – King Aleksandar Karađorđević and Marshal Josip Broz Tito – were being perceived? By analyzing relevant archival sources as well as contemporary periodics we would like to understand ways in which local authorities and elite, from the position of their social power and status, had received mentioned rulers in visit, in which ways they had been honoured and how were they are commemorated. We would like to understand proccess of creation of local social memory, constitution of memorial and cultural patterns, their key cultural elements and meanings, wnich are in moments of changes of social and state systems thorn apart, only to be constituted again by recombinating cultural and social elements as well as comprising other actors. In other words, center of analysis will be focused on tracing the collective memory of population of Samobor towards the ''great leaders''. Keywords: Samobor, Croatia, cultural memory, Aleksandar Karađorđević , Josip Broz Tito. Vos, Claske: University of Amsterdam/European Studies

Debating the Reconciliatory use of Heritage. European post-monumentalism versus Serbian national-monumentalism
In the 1990s numerous religious monuments were destroyed on the territory of Former Yugoslavia. Responding to this destructive use of heritage, the European Commission and the CoE developed the Regional Programme on Cultural and Natural Heritage in Southeast Europe. Since 2003 they have actively tried to change local perceptions on heritage in this part of Europe in order to facilitate the region’s integration process into the EU. However, in Serbia, thus far not much openness has been shown towards this initiative. While the programme aims to bring about public debates about Serbia’s uses of the past, these discussions are systematically avoided. How this attitude affects the implementation of this programme is what this paper aims to discuss. It will become clear that introducing new narratives about the past in order to bring about reconciliation works out differently on the national and on the international level. While the European institutions urge for a European post-monumentalism, Serbia insists on its national monumentalism. Even though internationally there is a growing concern that heritage should heal, regional practices show that the potential for conflict on the basis of interpretations of heritage has not diminished. This poses new questions regarding the role heritage can play as an instrument to produce more inclusive memories. Is it possible and even desirable to come into terms with post-war realities and search for more ‘accurate’ or ‘inclusive’ histories by means of these kinds of programmes? If heritage is essentially dissonant is there not unavoidably also a risk that it will have the same effect regarding post-conflict heritage management? The paper will try to find some answers to these questions and provide new insights in the diverse responses to transnational trends in the field of heritage management which increasingly stress the importance of heritage as a factor in post-conflict action. Keywords: Heritage, reconciliation, resistance, Serbia, European integration Wagoner Brady, Aalborg University

Remembering the Egyptian Revolution: A Bartlettian Approach to Culture and Memory
In contemporary societies, social groups struggle to impose their own way of interpreting and remembering the past. Memory is a site of political struggle because the past has direct implications for how to act in the present and orient to the future. The present paper will investigate how different social groups remember the 2011 Egyptian Revolution and the events that followed. There is in Egypt today a struggle between pro-Islamist and liberal-progressives over how the revolution is to be remembered and as such where the country should be headed. In this paper, I aim to explore the social-psychological processes—such as, the influence of group identification and narrative resources—through which members of these different groups reconstruct the past in a movement to the future. This will involve looking at narratives of Egyptians from different social positions within the society to explore (1) who they see as the main protagonists and antagonists, (2) which rights and duties different actors have, and (3) whether they see the country in progress, decline or tragedy. In short, the Egyptian Revolution will serve as a case study to explore the dynamics of memory and culture in a changing and interconnected world. Keywords: Wilson Dave, University of California, Los Angeles

Whose cultural memory is it, anyway?: jazz and nostalgia in contemporary Macedonia
Jazz has long played a role in the musical landscape of Macedonia, from the enduring public presence of the Skopje Jazz Festival to the recently opened jazz program at Goce Delcev University in Štip. Over the last twenty years, a number of young musicians have studied jazz abroad, initially at the Berklee College of Music in Boston (i.e. Toni Kitanovski and Georgi Šareski) and more recently at the University of Music and Perforaming Arts in Graz, Austria. These musicians have returned to Macedonia wellversed in the techniques, repertoires, improvisational skills, and performance practices of jazz. Along with other Macedonian musicians who have acquired jazz musical skills and sensibilities through the transmitting the global flow of recorded music, these jazz musicians have been participating in a burgeoning scene in Skopje springing out of their embodied musical knowledge and its powerful social potential. As an oral tradition, jazz habitually references the past, presenting particular representations of cultural memory. As the Tavitjan Brothers draw on folkloric repertoires for their ethno-jazz aesthetic and as Letečki Pekinezeri perform original compositions in the styles of 1930s and 40s jazz, for example, they invoke cultural memories of two pasts, each one imagined and referencing musical symbols that signify different types of nostalgia. Following Svetlana Boym, I suggest that the Tavitjan Brothers evoke a “restorative nostalgia” of home and homeland, while Letečki Pekinezeri reveal a “reflective nostalgia, ” mediating history and the passage of time and exploring ways of inhabiting many places at once (Boym 2002).

they practice it. pacifist. Danish nationalism is anchored in one all-dominating historical event: the defeat to the Prussian-Austrian army in the battle at Dybbøl in 1864. violence.73 Through the examination of the aesthetic strategies of these groups. which is based on his three-year stay on the island. ethics of memory. Therefore. Keywords: young people. memory of hostile violence and a reaction to this violence are in a dynamic interaction. Keywords: Cypriots. Besides memories are created and fluid. they not only demonstrate taste. Department of Border Region Studies. national identity that has characterised public and political discourse until the recent decades. imperialism Yndigegn Carsten. in this paper cultural memory as Durrell reflects on a tri-partite basis will be analyzed in terms of conflicts. The paper investigates how young people deal with the memories of the past. University of Ljubljana Ethics of Memory Memory is a double edged sword. the lack of reflexivity concerning the importance of nationalism in Danish discourse makes it appropriate to characterise it as banal in Billig’s sense of the word. injustice. memories (of suffering. memory as a subject of evaluative inquiry.eu/). ethnic conflicts. identities. a sojourn which coincided with the enosis crisis along with value. In short. Keywords: Yildiray Cevik. open and tolerant society. And this leaves a heritage of contradicting historical discourses to the current youth. clashes and hopes for negotiations. for the sake of forgiveness? Further questions of the ethics of memory – closely tied to the two mentioned above – are: Are remembering and forgetting the proper subject of moral judgment (positive or negative) at all? Aren’t we just moralizing when we morally judge about remembering and forgetting? Who is “we” that should remember or forget? The aim of the paper is to contribute to the answer to the questions mentioned above. The paper is based on research that has been carried out as part of MYPLACE. banal nationalism. cultural differences. Skopje Reflections of Cultural Memory in the Island of Disputes: Reading Durrell’s Bitter Lemons of Cyprus The clean reading of Durrell’s Aegean travelogues favors the elaboration of memories of travels. and it has broken the tradition of being a consensus seeking. memories. official policy has broken the long tradition of a defeat-determined political behaviour. It is embedded in the reflexivity patterns. events etc. Faculty of Languages. personal and cultural conflicts shows how representations of cultural and political conflicts are inextricably linked to representation of modern oriental thought. not fixed and given. The central question of the ethics of memory is the following: What we should remember and what we should not? The parallel of this question is: What should we forget and what not? Shouldn’t we forget some persons. International Balkan University. on the other hand it is important for personal integrity and for bearing witness about injustice. . Already the matters which we mentioned above suggest that an ethics of memory is needed to help us to deal with the ethical problems concerning memory. Island’s cultural ideology of ‘melting pot’ has been replaced by bi-culturalism in the recent decades. The central constituents of the frame of reference of the paper represent the works of Avishai Margalit and Jeffrey Blustein. atrocities …) can be misused for evil (political) purposes. The novel is an embodiment of cultural identities in cleavages surviving for recognition which also demonstrates a need for the construction of an egalitarian bi-communal society. values. This study is based on focus group interviews with young people who have visited the site of memory for the battle at Dybbøl in 1864. identity crisis. The novel is told of in various perspectives of ethnicities that are used as tools for cultural integration. Therefore. characters and British politics even though he claims to keep away from British politics. historical discourse Žalec Bojan. communities and ethical memory. He sees the clashes of tension in living styles of bi-polar society. reflexive way. for instance. Denmark has engaged in international wars. These perspectives formed mainly under Durrell’s orientalist viewpoint fill the novel through the cultural memory construed writer’s sovereign Western consciousness out of whose unchallenged centrality on Oriental perspective emerged. Thus. Keywords: nature and kinds of memory. this paper discusses the ways and extent to which Macedonians use music to align themselves with (or distance themselves from) prominent discourses of the past in Macedonia. and how they reflect on the use of history in their daily life. The research shows that young people do not deal with history in an active. an international European Union 7th framework programme project (http://www. it is unjust to say that young people lack historical consciousness: although.. As they incorporate cultural memory from abroad. In the contemporary multicultural and cosmopolitan times. stereotypes. Durrell filters his experiences through cultural memory after the return to England. This single event has determined the strong.fp7-myplace. a proper circumstance of getting involved in the cultural milieu of the island of Cyprus. This has been obvious in the public discourse about immigration and European integration. Faculty of Theology. The role of history is implicit. Historical discourses work through cultural heritage. they do not display it reflexively. preservation of identity and culture by the images of prominent figures from respective ethnicities. but suggest ideological alternatives. memory. Obviously. remembering and forgetting. The approach in paper is philosophical. responsibility to remember/forget. On one hand it can fuel the circle of hatred. actions. Lawrence Durrell’s travel book Bitter Lemons of Cyprus (1957). Thus for instance Herbert Hirsch has argued that the primal passions unleashed in the cause of genocide are tied to the manipulation of memory for political purposes. University of Southern Denmark The Role of Historical Memories and Disciurses in Danish Young People’s World Views Nationalism and national identity have been perceived as belonging to the fringe of the political spectre in Denmark.

1125-1201) memoirs of his association with Ṣalāḥ al-Dīn. he wrote an account of his experience in the service of Saladin. oppression etc. New body plasticity is represented by the figures in which are dominant combatant. Although ‘Imād al-Dīn’s work is framed as a life of Saladin. such as i. makes one suppose that ‘Imād al-Dīn relies upon the veracity and the “historical conscience” and tries through his autobiographical memoirs to present important personal and national events.Transition of dance body idioms Especially collective memory is the process of recording historical events. and only occasionally does he express some criticism of his master. University of Ioannina. In contrast to this example. Skopje Memory constructs . Cyril and Methodius". the weight of the life of the Macedonians. in recent years we follow the process of recasting the historical layers of the ancient origin of the nation. etc. This newly shaped and constructed building has its purpose based on the contemporary consumer and . but also equally to the identity features of a nation. Saladin. it created a very impressive figures of national culture.74 Zampaki Theodora.) and thus to gain recognition and to grow in identification idiom. Zdravkova Djeparoska Sonja. aim at serving his patron as well as to instill confidence to his people. University "Ss.D. One of the most significant and most frequently used symbols of Macedonian ethnicity in the years since the formation of SR. ‘Imād al-Dīn’s historical account is in no sense an ordinary narrative chronicle. Through them we see the transition of memory identity matrices which in this case are filled with completely different content. and it is heroic. one can notice a complete architectural and building reconstruction eradicated on the primary location. representatives of the Macedonian history.D. ‘Imād al-Dīn’s work is a historical account referring to the brief but glorious reigns of Nūr al-Dīn and Saladin.D. a practice that gives an impression of vanity and self-importance on the writer’s part. Moreover. Macedonia is a traditional chain dance "Teshkoto". towards demolition of industrial halls and transformation in to the business towers and shopping malls. It gets the definition through dance. concretely. standardization and interpretation. i. We already notice several dance forms that are inspired by the Macedonian general Alexander the Great. it may be said that the various discourses of the past that are quoted by ‘Imād al-Dīn aim at determining and enhancing the social Arabic identity. Arabic identity. but his greatness appears wholly as a corollary from the facts themselves. copiously illustrated with copies of or extracts from his own dispatches. emblems. the narrative focus slips away to highlight the role of ‘Imad al-Dīn himself (tarjama nafsah). with the remarkable feature that they are usually related in the first person plural. entitled al-Barq al-Shāmī (The Syrian Thunderbolt) (A. It is much more in the nature of a professional diary or record of the author’s secretarial activities. specially when it comes to national memory. There as a rule is exposed a completely new aspect of identity composite. This trend actualization of the new features of the nation first started in the new format of the sculptures. 1166-1193). 1138-1193) and his purpose to enhance the identity of his people. painting. al-Barq al-Shāmī (The Syrian Thunderbolt). Greece ‘Imād al-DÊn al-IßfahānÊ’s al-Barq al-Shāmī: A Paradigm for Cultural Memory in Autobiography of the Arabic Literary Tradition This paper aims at presenting ‘Imād al-Dīn al-IßfahānÊ’s (A.e. Keywords: ‘Imād al-DÊn al-IßfahānÊ. By constructing the past and thus its cultural memory. These memory composites are usually formulated with a tendency to emphasize a particular feature or specificity. ‘Imād al-Dīn gives a detailed account of his day-to-day activities as a high-ranking administrative secretary. Palestine. ‘Imād al-Dīn rose to high rank in the service of the Sultans and the Caliphate in Baghdad and later was in the service of Nūr al-Dīn at Damascus and became secretary (kātib) to Saladin in A. Certainly. winning features. that saw the unification of Syria. Instead. In this post. musical works. Emphasis is given to the role that ‘Imād al-Dīn played during the reign of Saladin and his own social commentaries regarding the “men of the pen” and the “men of the sword. superhuman feature presented in heroes. ‘Imād al-Dīn’s autobiographical account focuses on the true moments of his personal glory. which is a process that is characterized by a shift to different national memory constructs. It manages to impose itself as a topic for replication in the art (literature. On the whole. The first issue pertains to societies and individuals toward material remains of city’s industrialization.e. though at times appear to be straightforward eulogies. the Branimir Centre (former location of Chocolate Factory Union) and business and museum complex (former location of Zagreb Tobacco Industry). ‘Imād al-Dīn shows a deep admiration for Saladin. The example of "Teshkoto" where the title itself.D. This trend gradually spilled over dance. and Egypt into a single kingdom and the recapture of Jerusalem from the hands of the Crusaders who had held it for eighty-eight years (A. Although kinesthetic lumber unlike voice is more complex in terms of formulation. but also the manner of performance becomes a matrix which equals displaing certain historical processes. Is it at work a process of eradication of one’s cultural memory and imposition/creation of another one? The author argues that in this case. social changes. that were highly engaged and frequently situated at the most important locations in the city. one cannot speak of reutilization of the space that was once the place of production (which is quite prominent in the developed countries highly conscious and aware of their industrial heritage). 1175. Institut društvenih znanosti Ivo Pilar From industrial hall to shopping mall – reconstruction and relativization of industrial halls as a lieux de mémoire (case study of Zagreb) In this paper author analyses two issues related to Zagreb`s industrial heritage. All these materials. cultural memory.” Furthermore. autobiographical memoirs. Saladin (A. Spoljar Vrzina Sanja. These memoirs are seen as a chronicle of events. Keywords: Žebec Šilj Ivana. sculptural. 1099–1187).D.

существовала в Дагестане и в советский период. диурн. В мусульманских странах. Ключевые слова: Дагестан. Применительно к Дагестану диапазон этого поиска можно очертить вокруг нескольких уровней: политический (россиянин). "duty to remember". контролируемое институтом общественного мнения. The slogan of “Never again!” has its ground in avoiding history to repeat itself. В многоуровневой системе самоидентификации появилось новое звено. этнический. сопряжённая с героикой. территориальный (дагестанец). So far. among others. According to the second imperative. “preserving everything” and “duty to remember”. Нивната цел е обезбедување мирен соживот и толеранција на различни . Приоритет этнической идентичности в Дагестане в последние два десятилетия стал уступать идентичности конфессиональной. механизмов и критериев национальной идентичности в социокультурном бытовании этносов. oriented social action? Keywords: Hungary (1945-49). Мотивация на превосходство. can it become a space where one can remember what was once here produced or with what it was produced? Among noticeable exceptions such as the initiative by the museologists’ and historians’ community. the only positive example and exception to the rule is the Zagreb leather factory which now hosts The Glyptotheque of Croatian Academy of Sciences and Arts. intellectuals Абдулаева Медина Шамильевна. и. the case of Zagreb’s factory halls proves otherwise. In my paper I will first reconstruct the global space of memory politics according to these normative prescriptions. Отсюда – объединение кавказцев в вузах. с целью подчеркнуть причастность к исламской умме. Ценностно-ориентированное поведение. Institute of Sociology at the Academy of Sciences The duty of social reconstruction.75 market oriented society. we no longer have the normative principals according to which we could select from the past that is worth remembering. Ментальная установка на солидарность с представителями кавказских этносов и субэтносов. За пределами отечества дагестанцы позиционируют себя гражданами России. Андоновска Христина. public discourses.што се однесуваат на овие две клучни одредници на современото граѓанско општество. активно влияющая на жизненную ориентацию человека. Second I will elaborate its critique through the analysis of the Hungarian early post-war (1945-449) intellectual and journalistic reflections on the recent past. Важный аргумент в пространстве соревновательной культуры – наличие безупречной репутации. в американской антропологии термин «search of identity» (поиск идентичности). Keywords: Zombory Máté. national and regional memory practices. Ментальные этнокультурные доминанты дагестанцев: 1. the society of producers is transformed into society of consumers.Скопје Мултикултурализмот и мултилингвизмот – негација или интеграција на Балканот Мултикултурализмот и мултилингвизмот се императиви на светската и на европската политика денес. и т. идентичность. Современные исследователи используют актуальный в западной. В полиэтничной среде дагестанцу важно идентифицировать себя как в рамках кавказской ойкумены. The first is described by the concepts of “archiving”. это идентификации с суннизмом и шиизмом. 3. феномен кавказских культурных диаспор на территории РФ. The development of these features of today's dominant regime of historicity are closely tied to the social history of the memory of the Holocaust. в рядах вооруженных сил. а так же маркеры. Концепт диурна регулирует: этническую солидарность. This new field of action can be characterized. За тоа сведочат многубројните меѓународни акти – декларации. Reflections on the past in early post-war Hungary One important development of social memory recently is the emergence of a global space of memory which serves as context for local. повелби и сл. определяемое принадлежностью к этнической общности. В структуре коллективного бессознательного доминирует режим диурна (жизненная позиция. так и за ее пределами. является специфическим признаком индивидуума в данном культурном феномене. reflections on the past. локальный. лезгин. к данному уточнению добавляется и более подробное: дагестанец. ментальность. be it in the political or in the academic field. религиозный (мусульманин). The second issue. which is obviously more in demand than an empty and deserted former factory. конвенции. прежде всего. Instead. д. связанное с идентификацией внутриисламской. therefore. “patrimonializing”. при этом уточняется принадлежность к Кавказу. Институт за македонски јазик „Крсте Мисирков“ . Это обусловило необходимость постоянного сохранения норм. . called “duty to remember”. or “musealizing” denote: because of the uncertainties about the future. Прежде всего. 2. кафедра теории и истории культуры и методики музыкального образования Дагестанского государственного педагогического университета Идентификационные и ментальные этнокультурные доминанты дагестанцев Традиционная культура на Северном Кавказе всегда существовала в условиях мультикультуризма. we have the only principal of “preserving everything”. отношения горца с законом. консолидация. мускулиноидный тип). находящихся за пределами кавказского региона. Этничность выступает как ценность. is related to the question whether factories are or can be lieux de mémoire? According to Zygmunt Baumans concept of the liquid modernity. вопреки императиву тотальной дружбы народов. Can we speak of a duty to remember in this case? What were the main discourses on Hungary's role during the war before the formulation of the concepts of Holocaust and genocide? What normative prescriptions. агрессивно социокультурная консолидация стала проявляться в постсоветский период. by its dominating normative prescriptions for social action. характерные для новейшей истории Дагестана – тарикатист и салафит. Более жестко. individuals and societies have to commemorate past events so that they can never reappear again. приоритет статуса. Is this society able to accept a factory as lieux de mémoire? Can it become a place where one can recall and remember its industrial past. in relation to the past.

суверено устројава културну климу Града готово пола столећа. културни. како и поширокото истражување за “историографски и мемориски дискурс во архитектурата”. Овој пристап има за цел илустративно да ги претстави. Прошле. Универзитет у Нишу Од архива до музеја: о културном идентитету православних Дубровчана (1790-2012) Ђорђе Николајевић. подигао је Саборни храм. мултилингвизам. Божо Бошковић. зависно од спецификите и барањата на одредена држава. Комплексниот карактер на мултикултурализмот и на мултилингвизмот доведува до појава на различни модели на (мулти)културни и (мулти)јазични политики. од свог доласка 1928. разрабатываемых научными коллективами (школами. Научное знание. Кога јазично-наративните концепти на историјата и меморијата визуелно ќе се разоткријат. традиција. публициста и архивски радник. естетичар и уметник. град. Оттука. На који начин и колико је успешно успостављен културни идентитет православног Дубровчанина у периоду последња три века. селектираните фрагменти од современата архитектонска теорија се проследуваат преку богат илустративен материјал од Берлинската пост-Ѕидна реконструкција. Поради широчината на темата.. културни. Департман за српску и упоредне књижевности. ликовни теоретичар. Зелянская Н. и се составува “историографскиот и мемориски дискурс на архитектурата (на градот)”. инаку често туѓи за архитектите од праксата. тема је овога рада. са братом Ником. Јовица Перовић. ЕУ Арсић Ирена. цели кон активирање на мисловната апаратура во име на образованието за архитектурата и културата. Архитектонски Факултет. велику изложбу Култура Срба у Дубровнику (1790-2012). но и како гаранција за мир и стабилност. свршени богослов сремско-карловачки. К. различност. страдања. основао задужбину и активно учествовао. Напротив. Универзитет Св. Во контекст на Балканот мултикултурализмот и мултилингвизмот имаат специфичен историски континуитет. религиозни и јазични групи. како и на историското потекло на нејзините етнички заедници (автохтоност. во име на уметничкиот набој на мемориските проекти.76 етнички. године ћирилске споменике. при што признавањето на различноста не се доживува повеќе како опасност за општеството. века. Балканот има поинакво историско искуство и поинакви модели на создавање држави и нации во однос на Западна Европа. друштвеном и културном животу Дубровника друге половине 19. обидувајќи се да го негираат мултикултурализмот и мултилингвизмот како остаток од минатото. миграции и колонизации на населението. Клучни зборови: мултикултурализам. Бошковић. века. у привредном. Во минатото Балканот бил составен дел на разни империи и држави. преемственности между ними. крстосница на многу етнички. Ј. на пути своего становления также проходит этапы попеременного утверждения / опровержения . Пермский государственный национальный исследовательский университет Трансляция культурных кодов в научном тексте (на материале предметной области “Когнитивная лингвистика”) Актуальный для современных гуманитарных и социальных наук вопрос о культурной памяти как механизме хранения. јавен простор. својом живописном биографијом. преписивао је у Дубровнику 1831. политичком. Б. преку кои се препознаваат темите на историјата и меморијата во релација со архитектурата. фрагмент... 2012. передачи и порождения знаний может быть рассмотрен в качестве точки отсчета для понимания логики становления и развития предметных областей. Кључне речи: културни идентитет. при што на различноста се гледа како на закана и неприфаќање. Л. Николајевић. године. имиграција и сл. Берлин Белоусов К. Клучни зборови: архитектонска теорија. а со тоа и да ги направи поблиски јазично-наративните концепти на историјата и меморијата. Денес Балканот е во екот на засилен процес на евроинтеграција. јазични и религиозни групи во рамките на едно плуралистичко општество – со промовирање и почитување на правото на различност и еднаквост како предуслов за продлабочен демократски развој и зголемување на човековите права и слободи. по налогу бечких власти. для прогнозирования векторов их эволюции. па дури и како на иредентизам. али и разноликим делом. додека новонастанатите национални држави изградуваат нови колективни идентитети чиј центар е нацијата (а не граѓанството). досељеник из Херцеговине. историја. док Коста Страјнић.Овој труд. православље. нема амбиција безобразно да ги симплифицира инаку високо поетските и автентични архитектонски остварувања претворајќи ги во буквален “modus operandi” за потребите на архитектонското проектирање. Филозофски факултет. туку како суштествен предуслов за непречен економски и социјален развој. Дубровник. жариште на многу војни. меморија. ослободен од етнички конфликти и од дискриминација. направлениями). Балкан. пропратила је монографија – каталог. идентитет. култура. популациона структура. являясь частью человеческой культуры. Перовић. врежан во колективната меморија. а затим засновао школу и био постављен за првог мирског свештеника у Граду.). до смрти. Страјнић Батакоја Мери. специфично одговорен за попопуларната тема на “идентитетот на градот”. исчезнува дотогашниот систем на вредности. Ђ.Кирил и Методиј во Скопје Историографски и мемориски дискурс во архитектурата (на градот) Овој труд презентира селектирани фрагменти од современата архитектонска теорија базирани на временско-просторните парадигми. И. Со падот на социјализмот. покажуваат дека се недвосмислено препознатливи а преку тоа и преводливи во архитектонски процедури. Секоја држава изнаоѓа свој сопствен модел што ќе соодветствува на нејзината историја. дело десетине истакнутих српских и хрватских научника и истраживача. илустративно обогаћује недовољно осветљену слику Дубровника у првим деценијама 20. што доведува до низа реформи во поглед на мултикултурализмот и на мултилингвизмот.

предметная область. в котором живет в эмиграции. история. Типографическая краска. не сумел прижиться на новом месте. Прозаик возвращается к недавнему прошлому.в Киеве. Одним из таких проектов есть «Автограф» – наиболее интересный отрывок из дневника. видео городов. зато Россия как «милая северная страна». В нем рассказывается о жизни святого.. Ключевые слова: культурные коды в науке. Многим воспоминаниям писатель придает идиллический оттенок. Также съемочные группы канала привозят из украинских и заграничных командировок интересное документальное видео о современном состоянии музеев. Фильмы демонстрируют современную жизнь культурных и духовных центрах мира . трансляции информации. иногда инсценированное. которое представляет собой репрезентант научно-исследовательской памяти. видео. позволяющей рассматривать развитие науки в тесной связи с эволюцией способов хранения.. на фоне старинной архитектуры. что сложилась определенная традиция изучения проблемы культурной. прозаического или поэтического произведения известной личности. Риме. Ведь масс-медиа не только ретранслируют информацию. Видео записывается в театрах. а и за ее пределами. хранящего все существенные черты культурных научных кодов. как Домик. ностальгия Варич Марина Валериевна: кафедрa журналистики и издательского дела Киевского национального университета культуры и искусств (г. храмы. стали находкой для любителей истории. культура. Достаточно часто не последнюю роль в формировании мировоззренческих ориентиров играют средства массовой информации. воззоздает красочные картины городов. В эмигрантские годы в творчестве автора Олеси почти стираются границы между рассказом. общечеловеческой памяти в контексте закономерностей новейшего исторического процесса [Ассман. храмов в разных странах мира. в которую жил и творил автор строк. к русскому быту конца XIX – начала XX веков. жанры цитируемой литературы и др. которые носят его имя. Инна. позволяющих адекватным эпохе способом передать актуальные идеи. духовность . которая тревожит его воображение и не позволяет забыть о себе. поэтому в его творчестве эмигрантского периода довольно много места занимает тема России. Для видео используются постановочные съемки с актерами. обработки. Петербурга. Прозаик идеализирует прошлое. Польша Ностальгический образ России в произведениях Александра Куприна эмигрантского периода Александр Куприн (1870-1938) является представителем первой волны русской эмиграции. Эпизоды из его биографии пронизывают. тоска по родине. воспоминания. показать богатые рекреационные ресурсы Украины и мира. которая расписывается на бумаге. звук. научный текст. который транслируется не только в Украине. в которых провел много времени (Москвы. В начале каждого «Автографа» появляется заставка в виде перьевой ручки. Подгорице. в которой «народ говорит этим простым и роскошным языком». метаязыков. Киев. Храбрые беглецы. Московская пасха. прекрасное время. Ключевые слова: телеканал. вороные. временная “глубина” используемых источников. Хотя он прожил на чужбине почти двадцать лет. мы считаем продуктивным вопрос о научноисследовательской памяти. очерком и мемуарами. музеях. Именно это видео становится основой для создания документальных фильмов длительностью 15. В нашей работе на материале публикаций журнала «Вопросы когнитивной лингвистики» с помощью ИС “Семограф” осуществляется графосемантическое моделирование системы цитирований в предметной области “Когнитивная лингвистика”. поиска кодов и систем кодирования / декодирования информации. которая выражается в падении заинтересованности к культурному и духовному наследию человечества. научно-исследовательская память. снижении интереса к истории. реконструируются внутрипредметные / межпредметные связи. Силой памяти Куприн воскрешает навсегда ушедшую жизнь. коллективной. ИС “Семограф” Бельняк Нель: Зеленогурский университет. такие произведения. прошедшее воспринимается им только как доброе. запах могут оживить в памяти яркие катрины минувшего. которая будто воспроизводит колорит эпохи. пишет о лицах. в частности. Ключевые слова: память. в которых сам принимал участие. Именно поэтому в современном информационном пространстве телевизионные проекты православного канала «Глас». Трансляция культурных кодов в научной деятельности становится доступна наблюдателю в виде текста. Московский снег. Несмотря на то. У Троице-Сергия и др. звучащих с экрана. эмиграция. крепостей. Нора]. Киева). а также процесс отбора продуктивных для данной области науки идей и способов их выражения. Коллектив канала создал несколько собственных проектов и выделил их в отдельные жанры. так как Куприн изображает в своих рассказах события. Все проекты канала подчинены одной цели – рассказать о культурных приобретениях человечества. в которой провел детство и юность. древних обычаев и традиций.77 текстов (в широком смысле) предшественников. где он родился и жил. На текст накладывается яркое. Интересен также проект «Жития святых».. серые. телепроекты. а и выполняют функцию формирования общественного мнения. подмене настоящих ценностей иллюзорными. Украина) Телевизионные проекты православного телеканала «Глас» как способ сохранения и возрождения культурной и духовной памяти народа На протяжении последних десятилетий в европейских странах наблюдается общая негативная тенденция. Одной из эксплицитных форм трансляции культурных кодов в научном тексте выступает система научного цитирования.25 минут. Иерусалиме. и северную Москву. Рыжые. иконы с ликом святого. гнедые. Будве. с которыми сталкивался в жизни. сопоставляя по принципу контраста южный Париж. аспекты. Любая деталь.

но и в культуре повседневной жизни.Скопје Македонското традиционално народно пеење од баладен тип Баладата како своевиден тип на музичко-поетско изразување не е посебно проучувана. досуге горожан. а се дел и од жетварското. Ключевые слова: город. которые ассоциируются с ушедшим “светлым” временем. который регулирует и направляет развитие культуры малого города в русло самобытности и неповторимости. воздух. а се интерпретираат на собирите во селските заедници за време на големите и најзначајните празнувања. глубже постичь особенности национальной картины мира. лесные животные и птицы. Интеллектуалы. интеллектуалы. социум. Според тематиката. а активное сообщество. Фоносфера (или звуковая картина мира) – звуковое окружение. Интеллектуалы становятся для них своеобразными “глазами”. зарисовкам и другим текстовым свидетельствам самобытности своей культуры. Во трудот ќе бидат опфатени балади собрани на теренските истражувања. традиција Вершинина Мария Геннадьевна: Пермский государственный гуманитарно-педагогический университет Культурная память звуковых кодов у носителей традиционной культуры Исследование диалектной языковой картины мира позволяет выявить специфические черты определенных этнических групп. баладнопеење. Ѓурѓовден и други поголеми празници од календарскиот циклус). какие именно звуки окружающего мира слышит человек. собирающие информацию исходя из логики своего профессионального статуса. повседневность. Клучни зборови: балади. Наиболее многочисленны системы единиц. проживающих на территории Пермского края. Каждый отдельный фрагмент фоносферы реализует ту же модель: звуки. в данном случае носителей традиционной культуры. Наибольшее внимание носители традиционной культуры уделяют звукам. анализа. связанные с человеком. Тие се вбројуваат меѓу најстарите песни и се потпираат врз разновидните митолошки претстави и верувања на човекот. тоа се балади со митолошки содржини. Најголемиот дел се пеат на одделни верски празници (Велигден. обозначающих звуки. Бројни се примерите кои укажуваат на зачуваноста на овие традиционални пеачки форми. распознаваемое и семиотизируемое человеком – является частью диалектной языковой картины мира. свадбарското и службарското пеење. технические шумы). При анализата на собраниот материјал. эстетике развития городов. близкими к человеку). Так. В процессе сохранения и трансляции социокультурных знаний. В том. находящихся на удалении от человека (неживая природа. етномузикологија. совместное.78 Васюрина Алла Александровна: кафедрa социально-гуманитарных дисциплин Государственного высшего учебного заведения “Украинская академия банковского дела Национального банка Украины”. баладното пеење е најсочувано во југоисточните обредно-пеачки традиции. Од минатото до денес. издаваемым телом. вода. и голосовым проявлениям. А культурная память является для них инструментом. Появляется интерес к старинным фотографиям. являющейся своеобразным концентратом ментального опыта народа. Актуальными становятся поиски доказательств “прекрасного далекого”. Ова е еден обид на претставување на баладниот тип на пеење во системот на другите жанрови на македонското традиционално музичко-поетско изразување и тоа во делот на обредната пејачка пракса. г. Менее развиты системы звуковых единиц. Сумы Культурная память нестоличного города Развитие и бытие украинских нестоличных городов после 1991 года имеет свои особенности. осознаваемое. На первое место в обустройстве городского быта выдвигаются извлеченные из забытья давние образы. если звук возникает вследствие взаимодействия человека со стихией. Создаваемая ими картина городской жизни воспринимается и используется другими слоями общества. если в советский период в исторических исследованиях. которые во многом связаны с памятью культуры. може да се заклучи дека застапеноста на овие мелопоетски форми во некои региони е поголема во однос на други. Величковска Родна: Институт за фолклор „Марко Цепенков“. во кои митолошките суштества живеат и дејствуваат исто како луѓето. звуки природных стихий (земля. пению (которое мыслится как громкое. которые появляются в результате совершаемых действий. выставках запечатлевались лишь идеологически значимые и “разрешенные” для обнародования события? Влияние культурной памяти на современную культуру бесспорно. открыткам. их воспроизведения как целостной системы представлений о социуме важное место занимает интеллектуальная элита города. огонь) немногочисленны. Помнит ли небольшой город всю свою историю. кои го претставуваат најрепрезентативниот дел од музичко-фолклорното творештво на Македонците. Это воздействие проявляется не только в художественных акциях. распознаются лучше. а также звукам. направляет их познавательную активность к изучению и воспроизведению неких стереотипов обыденной жизни. реализуется специфика менталитета той или иной языковой общности. недостоверность). односно. кои имаат ороводен карактер. Осознание древности и значимости собственной истории способствует сохранению писаных и неписаных норм и правил поведения горожан. за исклю- . ослепленное вспышками тоталитарного времени. используют ее для оценки окружающего их мира. почнувајќи од оние на претходните соработници на Институтот за фолклор "Марко Цепенков" од Скопје. музеях. со изразити афинитети и доследно чување на овој тип на пеење. он распознается вполне отчетливо. которые открывают горизонты собственной культуры. Но современные горожане – это не “безмолвствующее большинство”. либо живыми существами. которые иногда называют “немыми”. особено во Малешевско-Пијанечкиот регион. культура. пространстве искусства. песните припаѓаат во првата група. однако. слаженное). связанные с человеком (производимые либо самим человеком. уделяется большое внимание речи (преимущественно недостаткам: неразборчивость. многословие. Так. Практически у всей звуковой лексики отчетливо прослеживается источник звука.

Од една страна се создаваат културно-просветни организации како „Никола Вапцаров“. В результате. Фокусот на истражувањето е насочен врз примери од македонскиот обреден и приказничен фолкор. Проучувајќи ја генезата на шаманското искуство и неговата рефлексија врз културата на современата цивилизација. Ключевые слова: звук. Таким образом. етнографија и јазик во Пиринска Македонија како општо здружување на целото македонско население во Пиринска македонија. картина мира. главной чертой фоносферы является ее антропоцентризм. звуковой код. что только через греческий и латинский . Россия и Европа не говорили на одном языке. звук является маркером «своего». идентитет Галина Алфимова Латинский язык как средство вхождения России в европейское культурное пространство в XVI-XVII вв. дојдовме до заклучок дека шаманизмот како специфичен феномен е продуктивен и во македонската народна традиција и вграден во духовното искуство на нашата почва. фоносфера. Отпорот се одвива во два правци. Од друга страна се создава македонска интелегенција која преку творење во сегашноста (поезија. Таким образом. шорох. Осознание необходимости получения образования способствовало созданию школ и развитию литературно-издательского дела в юго-западной Руси. чија цел е да воспостави контакт со паралелниот и невидлив свет на духовите. се доживува како привилегиран канал на комуникација помеѓу човекот и натприродните суштества. Повлекувајќи парарлели ќе се обидеме да направиме поврзување меѓу шаманските ритуални обреди и лекувачкиот обреден комплекс на русалиите како шаманистичко терапевтско екстатично искуство. кои можат да влијаат врз атмосферските појави. „Илинден“. Витанова Рингачева Ана.) настојува да го зачува македонското творечко и културно битисување за идните генерации. Шаманзимот како систем од екстатични и терапевтски методи. являясь средством межкультурной коммуникации и источником получения знаний в европейском культурном пространстве. В первых братских школах изучались славянский и греческий языки.79 чением группы единиц. так что в отсутствие очевидного источника звуку приписывается магическое происхождение. Основната цел на трудот е да ја анализира поврзаноста меѓу политичката и културната пропаганда во одбраната на македонскиот национален идентитет. литература. В России латынь не была средством получения образования и не была языком православной религии. Латинский язык. Таков карактер има и русалискиот обреден танц кој го изведуваат русалиите во Јужна Македонија. сурвивали од пониските степени на развиток. змејовити луѓе. их культурной интеграции стало начало изучения латинского языка в России. Kлучни зборови: шаманизам.. Таквата медијаторска атмосферска практика влече свои корени од шаманизмот како феномен во пошироки размери.. Это был язык католической религии и научной терминологии. СОУ”Димитар Влахов” Шаманистички реликти во македонската народна традиција Првобитните форми на религиозен живот кои преживеале до нашата современост и останале во нашата културна меморија како остатоци т. оставиле длабока трага во културната и религиозна опстојба на современиот човек. Связь звука с источником – важный элемент семиотизации фоносферы. Шаманистички елементи во нашата културна меморија ќе се обидеме да пронајдеме и во народните верувања за постоењето на т. фолклор. есеистика. и это явилось одной из причин «культурной оторванности» России от Европы. Повышенное внимание к самому себе характерно для менталитета носителя традиционной культуры. Во лекувачкиот обреден комплекс кој несомнено е граден врз шаманистичка основа. т. но его изучение было необходимо.. латинский язык был введен в учебный план позже. Клучни зборови: македонско малцинство. налик на шаманите.. Важным шагом на пути сближения России и Европы. „Цар Самоил“.н. отпор. Петр Скарга. обред. . народни традиции. русалии. со единствена цел изгонување на лошиот дух од болниот. обозначающие звук неясного происхождения. змејовити луѓе Влахов Мицов Стефан: Институт за национална историја Културниот отпор на македонското национално малцинство во Бугарија по 1989 година Рефератот се занимава со културниот отпор на Македонците во Бугарија против асимилационата политика на бугарската држава. транс. Бугарија.н.к. Кроме того. это шишаки). европейское образование проходило на латинском языке. во текот на т. данные звуки (стук. при што нашата фолклористичка експертиза ќе биде поткрепена со етнографски сведоштва и народни верувања со шаманистичка основа. тем более выражена оценка) характеризует критичное отношение носителя традиционной культуры к себе.. е присутен во религиите на сите континенти и на сите нивоа на култура. традиционная культура. причем выраженность негативной оценочности (чем ближе к человеку. ректор Виленской иезуитской академии указывал. в противном случае звук наделяется свойствами «магического». Религиозно-просветительская деятельность была необходима для укрепления православной веры. Трансот како универзална обредна појава и трансцедентно искуство кое се сфаќа како “состојба на опседнатост”. был чужим для России и не соответствовал ее ценностным традициям. кои се занимаваат со проучување на народните традиции. врвен миг е паѓањето во транс и општењето со духовите. его источник должен быть очевиден. “погани дни” oд Коледа до Богојавление. скрип) приписываются существам потустороннего мира (Циркотня-циркотня – никого нету.н. и данная задача была поставлена перед братскими школами.

и в соответствии с этой моделью проходило низшее. Это создает трудности в формировании гражданского самосознания. в русский язык начинает проникать заимствованная западноевропейская лексика и термины. Эмпирическая база исследования представлена опросами и интервью представителей разных возрастных групп. языка образования и науки. который сложился в русской художественной культуре XIX в. Братские школы заимствовали модель обучения Виленской иезуитской академии. пессимистично. малцински јазици. транслируются. РМ е мултиетничка држава и со самото тоа од особена важност е соодветната законска регулатива за употребата на официјалниот македонски јазик. как они считали. не видят своей роли в жизни страны за пределами исполнения служебных обязанностей. Культурная память избирательна. нелинейности протекающих процессов. в результате чего начинается процесс европеизации русского языка. Кризис социальных институтов приводит к нарушению механизмов трансляции социокультурного опыта. прошлый опыт теряет свое значение. а особено нивниот статус. представление об истории носит несистематический характер. Латинский язык начинают изучать в московских образовательных учреждениях. а во Европа особено со создавањето на Европската унија. РМ како земја кандидат за членство во ЕУ треба да ја усогласи законската регулатива со меѓународните закони. Живописуя образ жизни древних греков. Таким образом. были преимущественно свойственны древним эллинам. трансформируясь. язык образования и науки.Р. В результате образ прошлого предстает в искаженном виде. службен јазик. Часть опрашиваемых представителей российской молодежи вообще не видят преемственности между СССР и современной Россией. Использование латинского языка в России говорит о ее стремлении встать на один уровень с Европой. и будущее.80 языки можно преуспевать в науке и не может быть школы. во споредба со периодот кога Македонија беше во рамките на СФРЈ и во споредба со меѓународната законска регулатива. среднее. Головашина Оксана Владимировна. од една страна. закон Гущина Вера. Тамбовский государственный университет имени Г. вне зависимости от возрастной группы. поэты подчеркивали такие особенности их времяпрепровождения как пиры. Ключевые слова: латинский язык. Для большинства (68 %) представителей старших поколений развал Советского Союза стал одним из самых неприятных событий всей российской истории. культурная интеграция. расширяются границы функционирования латинского языка как транслятора культуры. Поэтому образы прошлого эмоционально окрашены. которые запоминаются. история. которые. а семья. В ответах участников опросов и интервью не наблюдается связи с уровнем образования. В условиях ускорения. Во овој реферат фокусот ќе биде насочен кон законите коишто го регулираат статусот на македонскиот јазик и на другите јазици коишто се употребуваат во РМ денес. пропагандируются определяется соображениями практической политики и многими другими факторами. а с отказа от наследия и памяти. темпоральность Груевска-Маџоска Симона: Институт за македонски јазик „Крсте Мисирков“-Скопје Јазичните политики и јазичното планирање во РМ – законските регулативи сврзани со јазиците во РМ Прашањето за јазичните политики и јазичното планирање е едно од најактуелните денес. опыт прошлых поколений. статус. Видение будущего России. является частью самосознания современного россиянина. преодолеть культурное отдаление от нее и войти в европейское культурное пространство. амурные забавы. В конце XVI – начале XVII вв. Основным источником формирования исторической памяти для современной российской молодежи (18-22 года) является не система образования. како и на фактичката состојба на терен. Опрашиваемые. и употребата на јазиците на малцинствата во РМ. в котором и влияет на формирование национальной ментальности и культуры. самосознание. и второ. в Москве развивается переводческая деятельность. европейское культурное пространство. что он вызван социокультурными трансформациями в России и отсутствием четкой национальной политики на современном этапе. где латинский язык является фактором культурной интеграции. воспринимается ими как личная драма. высокую ценность состояний лени и праздности. Клучни зборови: македонски јазик. Сейчас необходимо не отрицать прошлое. Представляется. то есть. где бы богословие и иные науки читались на другом языке. Кризис национальной идентичности характерен для всех поколений. как правило. а в последнее время . Среди молодежи есть корреляции по гендерному признаку: юноши более пессимистично оценивают и прошлое. Выбор событий из прошлого. так и в мифологизации «времени дедов» в сознании масс.особенно. Ключевые слова: Память. прошлое. Современная трансформация темпоральных представлений усложняет проблему памяти. прошлое отрицается. Это выражается как в утопических проектах политической и интеллектуальной элиты. Характерным примером избирательной интерпретации является образ античности. Воронежский государственный университет Образ античности в русской художественной культуре начала XIX в. братские школы. а научиться его преодолевать. Державина Память и прошлое в темпоральных представлениях современного россиянина В России всегда. а затем и высшее образование в юго-западных школах. Особую роль в этом направлении сыграл создатель . Каждый новый этап истории в России начинается не с преемственности. Во РМ тоа е актуелно од две причини – прво. Память. зависят от социального слоя родителей и бабушек. определяет его настоящее и будущее. фундаментом которого является историческая память. не смотря на отрицание.

а за тоа е неопходно прилагодување од страна на највисоките структури на власта. Роланд и Крале Марко. что древние греки (философы. и в творчестве вольно переводимых античных поэтов не все сводилось к апологии лени и праздности. который сам признавался. Секогаш државата првенствено треба да води грижа да се зачува знаењето и да не се дозволи одлевање на истото преку заминувањето на професионалните кадри од организациите. Пушкину. Дельвиг и др. каков е нивниот однос кон зачувувањето на знаењето во организациите. Целта ќе ја постигне преку изнаоѓање начини. настанати во различни културно-историски епохи. напротив. историски. Вработените во организациите заробени помеѓу старото и новото време тешко ја мнеуваат свеста во однос на складирањето и зачувувањето на знаењето. грижата за зачувувањето на знаењето во јавниот и државниот сектор. Однако пафос земледельческого труда и осуждение безделья не вошли русскую анакреонтику. во ‘Слово за походот Игорев’ и во неколку епски песни за Крале Марко“ Водечката идеја на ова истражување е да направи обид за компаративно приближување. что в древней Элладе из философов существовал не один Эпикур. что не соответствует исторической действительности. на различната културно-историска средина во која епските текстови настануваат и се . многу малку е изменета организациската култура во тој поглед. русская культура. русская литература. А. не се воспоставени стандарди со јасно дефинирање на процесите во организацијата и нивните меѓусебни врски. Иако навидум диспаратни. то такая односторонняя ее интерпретация повлияла и на становление российской национальной культурной парадигмы. в котором трудовым практикам не было места. Клучни зборови: меморија. и вообще человека как представителя человеческого рода. Методологијата на ова истражување е насочена кон анализа на законски и подазконски акти. Се разбира организацијата треба да поработи и на менување на системот на мотивирање и наградување во организациите. Овој труд ќе прикаже како се одразуваат промените во насока на воведување на документ менаџмент систем. а пред се особено треба да обрне внимание на менување на менталната свест кон организацијата од страна на вработените. как и римляне считали земледелие почетным. справедливый обмен и т. тем не менее. Сеуште постои страв дека доколку истото биде претставено и зачувано на транспарентен начин ќе им биде злоупотребено. односоно целосно менување на организациската култура. Новото време носи и промени во сите сегменти на општественотот живеење. овие две епски творештва пројавуваат потенцијал да бидат читани. Реконструируя природу ценностей и институтов классических Афин. Денкова Јадранка: Универзитет Гоце Делчев Штип Меморирањето на знаењето во јавниот сектор основа за ефективноста на организациите (студија на случај во РМ) Целта на овој труд е да ја прикаже состојбата во јавниот сектор од аспект на однесувањето на државата. праздность. Однако ведущая роль. Безделье считалось недостойным свободного человека. как и другие стороны античной культуры. знаење. не истинным. истражувајќи ги нивните допирни точки. организација. ценился честный труд. како и интервјуа над вработени во државниот и јавниот сектор. преку организациите до крајниот консумент граѓаните. С. Ключевые слова: античность. И поэтам пушкинской поры все это было ведомо. методи и техники кои ќе бидат засновани на Законски и подзаконски акти. но и на самата историјата.д.81 анакреонтической поэзии в России Г. култура. Батюшков. причем не только экономических. во насока на складирањето на знаењето во организациите. а значит. что греческие ученые несколько гиперболизируют трудовые и предпринимательские ценности и достижения древних эллинов. безусловно. Поради тоа треба да се воведат такви процедури кои ќе бидат во насока на авторизирање на делата и трајно документирање што ќе делува на нивната свесност и мотивираност. Оттука ќе произлезе и заклучокот од овој труд дека во досегашното работење на државната администрација. принадлежит А. поэты. воведувањето на ИСО стандардите во орханизацијата и идејата за воведување на електронски систем на складирање и управување со документи на ниво на една државна орханизација. нивните културолошки. А поскольку античность в то время представлялась культурным образцом. В результате создавался поэтический миф об античности. что он «читал охотно Апулея. Димовска Кристина „На двомеѓето меѓу фикцијата и историскиот запис . они отмечают. лень. а Цицерона не читал». но и социально-политических и культурных. В результате ее образ остался неполным. Державин и поэты пушкинской поры К. Даже если признать. истражувани и промислувани низ една заедничка визура – како средновековни епски дела кои даваат своевидна модифицирана и естетизирана (книжевна) визија за тогашните актуелни општествено-политички настани. а поэты не ограничивались Анакреонтом и Горацием. не соответствующим действительности.парадигмата епски јунак во ‘Песна за Роланд’. како и поврзувањето на истата со сите државни органи. политики). очевидно. почитувајќи ги нивните разлики (време на настанување/писмено фиксирање. Истражувањето ги ползува компаративниот и херменевтичкиот метод како адекватни за ефективно поставување на соодветно тло за пристапот кон двата текста.Р. достойным даже для аристократов занятием. что для экономического процветания античной Греции был необходим целый ряд факторов. на различно тло. амбиентални сличности и разлики и со тоа да ја постигне целта на нивно приближување на книжевен план. подчеркивают. В своих переводах русские поэты также корректировали античных авторов в сторону усиления гедонистического начала (Кнабе 140). Греческие ученые Битрос и Карайианнис (Bitros & Karayiannis). поврзување и третирање на – пошироко – двата средновековни епа (Песна за Роланд и епскиот циклус песни за Крале Марко) и – потесно – меѓу двата водечки ликови. организациската култура. завышают их место в культуре.

но и обидувајќи се да ги приближи еден до друг. на Запорожские земли Российской империи (ныне – юг республики Украина). второ. Овие две рамништа во Книга за Тара се двојно индикативни: прво. Женские нарративы о прежде бытовавших родинных обычаях и обрядах актуализируют обращение к воспоминаниям об опыте старшего поколения. Смена территории расселения. фокусирајќи го односот меѓу книжевноста и индивидуалната (автобиографската) меморија.82 читаат. но и од сеќавањата на прочитаното. Ѓуркова Александра. переживающего изменения. Анкетирањето се спроведува во рамките на истражувањето на . како што потенцира Калве (2002). што е основа во сфаќањето на јазикот како социјален факт и потребата за референција кон опшествениот аспект во проучувањето на јазикот и јазичните промени. поскольку они нацелены на принятие ребенка в семью. епскапесна. С другой стороны. во случајов. Институт за македонски јазик „Крсте Мисирков“. Општата рамка во која е поставено истражувањето претставува проучувањето на општествената заедница од лингвистички аспект. проживающих на юге Украины. ценностные установки представителей албанского этноса. несколько веков прожили в восточной Болгарии. Лешиќ. низ сопственото (животно и творечко) искуство. епскихронотоп. историографија vs. гагаузов. Во рамките на истражувањето на ставовите за јазиците се инкорпорирани и перцепциите за јазикот и културата на „другиот“ или различниот. русских. характеризуются стремлением к сохранению исконной в их представлении культуры в качестве маркера идентичности в полиэтничной среде. Скопје Културни репрезентации и ставови за јазиците во Република Македонија Оформувањето на одредени културни модели и стереотипи претставува составен дел на перцепирањето на јазиците и нивните говорители. како основна и појдовна категорија на промислување и анализирање. жанровската хибридизација и метафикционалниот фокус врз тешкотиите околу пишувањето роман илустрираат една варијанта на жанровска меморија: намерата животот да се претстави во (романескна) приказна. епскијунак. покинув пределы Албании. која ги интегрира дијалошката и монолошката мемориска практика. социальных. полиэтничность. ја афирмираат конкурентноста на романот во однос на останатите (историографски. книжевнафикција Дугушина. преку аспектите на средновековниот (епски) херој како книжевно типизиран лик и. Во согласност со премисата дека „романот настанува од сеќавањето“. но и како паметење на сопствената (жанровска) еволуција. В докладе пойдет речь о культурной памяти в отношении ритуальных практик родинного цикла этнической группы албанцев. политических режимов. идеолошки) дискурси за стварноста. артикулиран како однос меѓу персоналното искуство и неговото наративно осмислување. Такая идеализация прошлого позволяет албанцам сохранять представления о своей культурной специфике.сеќавање . Од една страна. болгар. при што се среќаваме со дихотомијата „ние“ и „другите“. меморија. референцијалната и автореференцијалната. родинная обрядность. туку го илустрира и романескното сеќавање на сопственото жанровско минато. включение его соответствующую социальную среду как важное условие ее благополучного развития. украинцев) явились причиной появления инноваций в их локальной культуре и. Одним из механизмов трансляции культурного кода в традиционном сообществе являются обычаи и обряды. политических и пространственно-временных трансформаций – безусловный продукт культурной памяти для этноса. Клучни зборови: еп. Историческая судьба привела албанцев в начале XIX в. утраты или трансформации отдельных ее элементов. односно потрагата по романескна приказна и во сферата на стварноста и во сферата на теоријата не само што го демонстрира метафикционалниот интерес за односот живот/уметност. Од друга страна. но и на фактот дека наспроти епот за Роланд. политички. го афирмираат романот како еден од најсложените видови наративна меморија. неизбежно. Проучувањето на ставовите за јазиците во Република Македонија претставува дел од Проектот „Јазичното планирање и јазичните политики во РМ“ и има за цел да даде поконкретна слика за реакциите за јазиците и јазичните појави во нашето општество. связанные с рождением детей. метафикција. Во изучувањето на ставовите кон јазиците се земаат предвид и стереотипите што се сврзани со перцепциите за различни јазици. населяющих Приазовье. который в ценностном смысле обретает черты «оплота» традиционных самобытных черт. романот го прикажува транспонирањето на екстратекстуалната реалност во медиумот на фикцијата.заборавање Книга за Тара на Зденко Лешиќ ги демонстрира капацитетите на романот да се постави како меморија на одредена историска стварност. греков. традиционная культура Ѓорѓиева Димова Марија: Филолошки факултет „Блаже Конески“-Скопје Романот и неговите мемории Тематизирајќи го и коментирајќи го односот паметење . Петра Великого (Кунсткамеры) РАН Культурная память и этническая специфика: идеализация прошлого в обычаях и обрядах родинного цикла албанцев Украины Традиционная культура в условиях экономических. Овој аспект е присутен и при истражувањето на туѓојазичните елементи во определен јазик. До переселения в Россию албанцы. Александра: Музей антропологии и этнографии им. женские нарративы. да укаже на можната комуникација меѓу нив на книжевно-естетски план. итн. афирмирајќи една варијанта на „меморија во книжевноста“. постојат епските песни за Крале Марко. потврдува дека имагинацијата на романсиерот црпи од неговите сеќавања (за слученото).). Ключевые слова: албанцы Украины. наративна меморија. процессы индустриализации и культурная интеграция различных этнических групп (албанцев. Клучни зборови: роман.

Покрај ова. но не могут воплотить в себе действительно глубокое размышление о сложных исторических событиях. реакций) анализировалось семантическое поле человек и актуализация в нем различных социальных идентичностей. ставовите спрема странските јазици и ставовите кон јазичните варијации односно спрема дијалектите. Ключевые слова: художественные практики. коми-пермяков и македонцев. Искусство – важная структурная составляющая городской среды. Резултатите од ова истражување се важни од аспект на оформувањето на јазичната политика во делот на изучувањето на јазиците што се зборуваат во РМ во процесот на образование. и новые. идеологический и социокультурный смысл. Боронникова Наталья Владимировна. ваквото истражување дава материјал за пошироки социолошки и културолошки проучувања насочени кон стереотипите во сфаќањата за луѓето од различни култури. как критическое напоминание и своеобразный эксперимент. коми-пермяков и македонцев (всего более 10 тыс. которые нацелены на переосмысление актуальных исторических проблем (как. в том числе и национальные особенности иерархии идентичностей. поэтому анализ ментального лексикона позволяет нам вскрыть актуальные для человека социальные идентичности. своеобразные «невидимые монументы». Кроме своего визуально-эстетического назначения. Таким образом. подверглись существенной критики. сфатена како носител на прогресот во секое општество и како општествена група од која произлегува интелектуалната и академската елита. што живеат во едно општество. Россия). актуальные модели. нефигуративные проекты. македонцы и русские – носители славянских языков. что традиционные памятники способны передать только яркий. Участвующие в эксперименте русские и коми-пермяки проживают на одной территории (в Пермском крае. В ментальном лексиконе отражается не только личный опыт индивида.). что больше нацелены на индивидуальное понимание конкретной исторической или социокультурной действительности. но и родной язык информантов. Герц. которые считались лучшим способом обращения к общественной памяти. културни репрезентации. публичное искусство.83 ставовите за јазиците се однесува (главно) на студентската популација во Република Македонија. в конце ХХ в. Клучни зборови: ставови за јазиците. например. јазични заедници. и Е. но проживают в разных странах и в разных условиях. актуальных. Пермский государственный национальный исследовательский университет Социальные идентичности и их отражение в ментальном лексиконе: на материале русского. возникают новые. которая основана на убеждениях в том. ментальный лексикон. так как ассоциировались на Западе с искусством тоталитарных режимов. скульптуры. Язык обеспечивает преемственность культурных традиций и социальных установок в обществе. в котором фиксируются представления о мире и их лексическое выражение. посвященные памяти Холокоста и т. Материал эксперимента показывает. в качестве средства актуализации культурной памяти в современной городской среде функционируют две разные парадигмы художественных практик: традиционные формы. користењето на определен „акцент“.п. како и во планирањето и мотивирањето во изучувањето на странските јазици. проекты Й. Экспонированное в публичном пространстве города с целью взаимодействия с обществом. семантическое поле. оно воплощает определенный исторический. которая охватывает широкий спектр художественных практик: от традиционного монументального искусства до новейших.мемориалы. како и кон стандардниот македонски. Истражувањето на ставовите кон јазиците ги подразбира и комуникациските компетенции. Так. культурная память. В частности. . Ключевые слова: культурная память. оми-пермяцкого и македонского языков Ментальный лексикон является важнейшим компонентом языковой способности человека. социолингвистика Ерофеева Елена Валентиновна. В полученных в результате направленного цепочечного ассоциативного эксперимента актуальных лексиконах русских. публичное искусство ориентировано на критическое напоминание. стереотипи. Предметом настоящего исследования является проявление социальных идентичностей в актуальных лексиконах (базовой части ментального лексикона) представителей трех национальных групп: русских. В условиях современной культуры роль художественных практик в городском пространстве значительно возрастает. апеллирует к общественному сознанию и культурной памяти. Однако. предусматривающие выражение общественно-значимых идей и обращение к коллективной памяти посредством угнетающего гигантизма масштаба. што е важно во областа изучувањето на меѓучовечките односи. как своеобразная материализация и утверждение коллективной памяти. возникает альтернативная концепция «контрмонумента» (или «антимонумента»). доминирующими арт-практиками в пространстве постсоветских городов сегодня остаются образцы традиционного монументального искусства. но и коллективная память предков. хотя и ограниченный. однако они являются носителями языков разных семей. традиционные для постсоветского пространства мемориалы. пространство. говорите.. актуализацию культурной памяти и поиск локальной исторической идентичности. человек Ефимова Анна Викторовна. часто нефигуративных форм. Так. что на иерархию социальных идентичностей влияет не только условия жизни. сленг и сл. памятники. художественный образ. социальные идентичности. Львовская национальна академия искусств Современные художественные практики в пространстве города как средство актуализации коллективной культурной памяти. Вследствие длительной изоляции от мирового художественного процесса. Формируется концепция public art «публичного искусства». Во истражувањето се опфатени ставовите спрема сопствениот/ мајчиниот јазик и спрема другите јазици што се зборуваат во РМ. Уже в 1960-х годах в Западной Европе и США актуализировалась тенденция имплементации современного искусства в открытые городские пространства. под влиянием различных течений постмодерна происходит поиск новых форм актуализации культурной памяти в пространстве города. городская среда. .

Под надворешни или индуктивни се подразбираат насоките кои водат од сите претходни текстови на кои се „повикува“ романот на Андоновски кон самиот роман. Понатаму. дигитализацијата отвора нови и неограничени можности на идејниот. од кои културната меморија произлегува како дестилат. Целта е подигање на македонската национална свест. Во контекст на забрзаните промени кои ги наметнува и создава глобализацијата. најголемите ефекти се очекува да ги има можеби не сега веднаш – иако последиците веќе се чувствуваат. Андоновски како книжевно. како и насоките во кои тие се распространуваат ќе бидат именувани како надворешни или индуктивни и внатрешни или дедуктивни. каде што таа ќе претставува инструмент за развој на музејските колекции во квалитативна смисла.„Папокот на светот“ од В. зацврстување на чувството за припадност. Во трудот е направен обид да се систематизираат оние релевантни сознанија од оваа област во светот кои би можело да се имплементираат во нашата средина. свртувајќи го фокусот кон најшироката можна публика. заради фактот дека истото се случува во рамките на самостојната македонската држава. романот „Папокот на светот“ ќе биде земен како прв слој на новиот палимпсест. во овој труд е направен обид дигитализацијата да се постави како основа за една изменета практика на музеите. успех. видоизменети. Ќе бидат проучувани и систематизирани трагите од повеќе други текстови во романот. информатизацијата и (хипер)модернизацијата. бре Македонче“. а не крајна цел на музејските институции. Клучни зборови: дигитализација. корисник. музејска колекција. Андоновски ќе биде расчитуван како неколкукратно слоевит палимсест. гордост.А. и ќе се разгледуваат неговите траги во театарскиот роман на Андоновски. а највеќе преку медиумите и образовниот процес. но и новородени синтетички битија – истоимената театарска претстава на Славенски и филмот „Превртено“ на Иванов-Изи. Секако. комплекс „на пониска вредност“. „Папокот на светот“ ќе биде согледан како специфична трилогија. Папочната врвца на културната меморија . кој можеби сè уште не е довршен. Промовирање на концепот „Űber Makedonische“. зацврстување на чувството на самопочит. особено во неговата наратолошка текстура. ваквата ориентација за музеите значи не само отвореност кон алтернативните перспективи и стратегии за развој на нивните колекции. денес (од 2008 година – до сега) можеби се случува најзначајното редефинирање на идентитетот на македонскиот народ на повеќе нивоа. концептуален простор и постоење на музејските предмети и континуирано компаративно преобмислување на поширокото културолошко значење на колекцијата како целина и на нејзините конститутивни елементи. врз сценариото на Андоновски и Иванов. преку развивањето и проширувањето на моделите на презентација на музејскиот материјал. систематизирани според нивниот придонес кон него. виртуелна реалност. Македонска академија на науките и уметностите (Лексикографски центар) Дигитализацијата како инструмент за развој на музејските колекции Тргнувајќи од размислувањата за лоцирањето и контекстуализацијата на различните постапки обединети под терминот дигитализација во музејското опкружување. Начините на кои се образува врзивно ткиво меѓу слоевите на палимпсестот. е еден од основните приоритети на владеачката десничарска структура (особено кога националниот идентитет заради проблемот со името на државата е најзначајното национално прашање) и истата се спроведува преку сите ИДА. Клучни зборови: Илиева Николовска Анита. Процесот на редефинирање на културната меморија на еден национален ентитет. бре Македонче vs Űber Makedonische Македонскиот национален идентитет во моментов доживува реконструирање на неговите карактеристики (ако можеме да се согласиме со доминантните сегменти и стереотипи кои го означуваа во историски и сегашен контекст). историска константа. поточно триплиран естетски производ на планот на книжевноста. туку во моделирањето на културната меморија кај . Под внатрешни или дедуктивни се подразбираат насоките кон понатамошни. довршува. туку и исполнување на претпоставената улога на општествена институција во вредносен контекст. драматизацијата на Славенски и најпосле. доиспишува низ визуелните уметности. како од страна на музеите. гледано од историски аспект. Како романот се самодопишува. односно според природата на воспоставената интертекстуална релација. така и од страна на корисниците на on-line содржините. како и од теориските поставки според кои големата фаза на акумулација на физички предмети на традиционален начин за музеите е минато и она што мора да биде нивен приоритет е обезбедувањето на пристап до колекциите и општествената корист од нив. односно основа за нивно разгледување како средство или ресурс. театарот и фимот.84 Ефтимоска Татјана Б. потчинетост и понизност во балкански и европски контекст. а оставање на концептот „А. културна меморија Илиевска-Таневски Наташа: ЦККС Редефинирање на културната меморија на националниот идентитет . имајќи ги предвид степенот на развиеност на нашата музејска дејност и културната традиција во која таа се вклопува. толку сродни а сепак толку различни на/од книжевноста? Проследувањето на овие насоки ќе се обиде да го покаже тоа. Релативизирајќи го физичкиот простор и постоење. Во рамките на ова под-истражување. а напуштање на стереотипот македонска инфериорност. ефектите од дигитализацијата на музејските колекции може да се разгледуваат и во контекст на утврдувањето на оние вредносни категории според кои се конструира и остварува културниот идентитет и културната меморија на средината во која тие дејствуваат. Оттука. театарско и филмско остварување Романот „Папокот на светот“ на В.

Их размещение. В докладе характеризуются основные направления эволюции культурных ландшафтов в XX − начале XXI столетий. конституируются: иерархически или горизонтально организованные отношения между участниками . для занятий экстремальными видами спорта. ситуационизма. Такие «виртуальные» культурные ландшафты (например. Посредством отбираемых лингвистических. лицах и событиях (так называемые исторические календари). Каждый из них можно рассматривать как «связь времен». включаемые в такие ежедневные программы в качестве предмета воспоминаний. «финляндской» . бывший столицей Российской империи. «Московские старости» и другие исторические медиа-календари как мемориальные практики. непрерывно расширял как территорию своего влияния. културна меморија. отражают вкусы. Их современная картина представляет собой довольно пеструю мозаику. выделенные в качестве особых рубрик и программ в ряде российских средств массовой информации. структура. образ ландшафта. потребности и возможности современного человека. в которой «реликты» прежних эпох (дореволюционной. климат. В отличие от медленно изменяющихся природных особенностей (рельеф. Санкт-Петербургский государственный электротехнический университет «Ну и денёк». создаваемые различными социальными группами. образ региона. Скопје 2014. Память пространства: от дворянских усадеб до коттеджных комплексов (Северо-Запад Европейской территории России) Место дворянских усадеб в пространстве Европейской России в настоящее время занимают коттеджные комплексы.) кроме физических особенностей. инструментализма. возможная стагнация социо-культурных смыслов и ценностей. коттеджный комплекс. Хронограф») представляют собой альтернативные модели конструирования социокультурной идентичности соотечественников. по стабилизации образа и статуса последних и. «связь времен» в ландшафте Исаченко Татьяна Евгеньевна: кафедрa страноведения и международного туризма СПбГУ. систем природопользования. роскошные дворянские усадьбы. односно идните генерации.к северу от Петербурга) сочетаются с проявлениями процессов постсоветского периода. а также этнические смены. так и историческая память места. СанктПетербург. архитектурные решения. редефинирање Исаченко Григорий Анатольевич. «Подстоличное» положение окружающего региона порождало особые типы культурных ландшафтов. медиуми. В предлагаемом исследовании рассматриваются воспоминания об исторических датах. что нарративы памятных дат. факультет географии и геоэкологии Санкт-Петербургского государственного университета Эволюция культурных ландшафтов в зоне влияния Санкт-Петербурга за последнее столетие Культурный ландшафт рассматривается как результат освоения человеком природного ландшафта. сюжетных. Все эти процессы не могли не отразиться на облике культурных ландшафтов. напротив. выявляя тем самым редакционную политику названных медиа-каналов. ландшафт-символ. рассматриваемая территория испытала неоднократные изменения социально-экономического строя. советской. память в ландшафте. реализуемые в программах радиостанции «Эхо Москвы» («Ну и денёк!».п. опирающиеся на различные концепции власти-знания (как вида дискурсивных практик). «День веков. где происходит скрытая работа по культурной трансформации социальных агентов или. длительно осваиваемой человеком. Соответственно сюжеты и рассказы о персонах и событиях. культурные ландшафты любой территории.85 младите. отправления нетрадиционных религиозных культов.). с одной стороны. Ключевые слова: культурный ландшафт. до 1918 г. ролевых игр и т. где представлены наслоения различных эпох. Изучение жанра исторических медиакалендарей реализуется в рамках методологии социального конструкционизма на основе принципов интеракционизма. гидрографическая сеть и др. не характерные для многих других районов страны (многочисленные императорские резиденции. В настоящее время на одной и той же территории могут формироваться структуры ландшафтов. телеканала «Культура» («Календарь») и российского исторического телеканала «365 дней ТВ» («Календарь событий». как следствие. реляционизма. зона влияния Санкт-Петербурга.). ограничивается и оформляется культурное пространство. В течение XX в. «Московские старости»). в процессе которой определенным образом структурируется. более изменчивы. Трудот има за цел да ги испита начините и методите на медиумите со кои се врши редефиниција на културната меморија по ова прашање Клучни зборови: национален идентитет. исполнительских приемов (вербального и невербального инструментария) в изучаемых программах производятся. но с другой – в коттеджных комплексах прочитывается как географическая. так и направления. Казаринова Надежда. вплоть до современной. Ключевые слова: Усадебный ландшафт. заложенное в дворянской усадьбе. а также (и в первую очередь) способы рассказывания о них предстают как мемориальная коммуникация. как вид нарративных коммемориальных практик. по которым это влияние распространялось. имеет свою собственную символику и образный ряд. Для современной эпохи характерны социальное расслоение общества и увеличение разнообразия потребностей в отношении ландшафтов. освоение. политических и административных границ. во многом наследующие представление об идеальном ландшафте. Проверяется гипотеза о том. дачные поселки и др.

Гумилев отмечал: «Удивительно умение тюрок находить общий язык с окружающими народами. 149). которые когда-то внесли вклад в науку. Ключевые слова: термины-эпонимы. 3) вызывающие эмоциональное сопереживание vs оставляющие эмоционально отстраненными. химики. За женскиот „идентитет“ и „менталитет“ во јужнословенските литератури Без тенденција за исцрпен третман на предметното прашање во периодизациски рамки. представляющая собой закрепленный в лексической системе национальнокультурный прототип носителя научной мысли. что находит свое место в культуре. 2) могущие стать примером для моделирования собственного поведения vs неактуальные. женскост. в которой прошлое. постулаты Евклида. что ученые (математики. физики) запечатлели в концептах своей науки себя. спокойными. медиа-нарратив. «Этносфера история людей». Преку „изолација“ на т.н. справочнике. Кавказ по количеству населяющих народов является уникальным регионом планеты. тюркские племена известны на Кавказе с глубокой древности. чуждые. помимо прочего. Плесснера. народном декоративноприкладном искусстве. его место и воздействие на настоящее вплетено и соответственно перерабатывается живущими ныне принципиально различным образом. и позволяли тюркам объединять народы Кавказа в единые государства. Первые феодальные государства в Европейской части России были созданы западными тюрками. Национальная Академия Наук Азербайджана Институт Архитектуры и Искусства Мультикультурализм у тюркских народов Кавказа Культура тюркских народов Кавказа в ее сегодняшнем понимании полифонична. человек становится чем-то тогда. а потом были незаслуженно забыты. болезнь Боткина.век. национальных праздниках и играх. менталитет. Как бы там ни было. в музыке. ремесел. Это качество тюрки проявляли независимо от того. медики. Процитируем Павла Флоренского: «Мало задумываются. танцах. Играя роль своеобразного перешейка между Азией и Европой. ковроткачестве. невовлеченными. когда результаты его деяний обретают собственный вес и способность отделяться от процесса своего возникновения. что во многом объясняет ее нынешнее многообразие и оригинальность. но и тех. что подтверждается рассматриваемыми нами терминами-эпонимами. разновекторные линии самовосприятия и восприятия образов прошлого. отраженный в словаре. Москва.86 медиакоммуникации (автор − фигура прошлого − слушатель/зритель). как при общем подсчете численно ничтожна та совокупность имен. национальной одежде и кухне. который содержит в своем составе имя собственное (антропоним. мемориальная коммуникация. энциклопедии. их толерантность в отношении к культурам других народов мира. В терминах-эпонимах человек проявляется как языковая личность. Л. Веками она складывалась из множества культурных традиций и обычаев. 373). 163). стр. романот „Зона Замфирова“ на Стеван Сремац и подолгиот расказ „Тена“ на Јосип Козарац. указывает как авторство человека. торговли. подобные понятные vs непохожие. Керимли Вугар. медики. легендах. Возможно. Исследование терминов-эпонимов позволяет сохранить для науки имена не только тех ученых. идентитет. именные памятники. и то обстоятельство. например. Это культурное наследие народа сегодня живет и имеет огромный потенциал для развития в будущем. Моите настојувања (и очекувања) се сведуваат на согледување на сличностите и разликите во „менталитетот“ на „балканската“ жена и преку него слика на културните состојби во различните општествени средини меѓу јужнословенските народи. и почетокот на 20. невоспроизводимые. Очевидно. нормах и правилах поведения в обществе. Создание словарей эпонимических терминов призвано служить сохранению многих незаслуженно забытых имен ученых. коневодстве. во оваа статија се осврнувам пред сѐ на женскиот менталитет во разнородни текстови од јужнословенските литератури: драмата „Бегалка“ на Васил Иљоски. Исследование терминов-эпонимов в разных специальных областях показало. песнях. стр. Все. „елементи на традицијата“ што се однесуваат на сфаќањето на „женскоста“. приходили они в новую страну как победители или как гости. топоним или мифоним). которые еще остаются в памяти благодарных потомков. странные. которая оказалась исторически жизнеспособной и выдержала испытание тысячелетий». эпонимические словари Караниколова Луси: Универзитет „Гоце Делчев“. правам обид за „влез“ во културната меморија на балканските народи и нивниот менталитет во втората половина на 19. Штип Балканскиот менталитет и елементите на традицијата. Математики. При господстве тюрков отмечается рост градостроительства. а именно как: 1) социально близкие. По мнению немецкого философа Х. жена. Сегодня возрожден огромный культурный материал. соблюдение законов в силу крепости страны. представители самых разных наук сохраняют в понятиях своих наук память об ученых. в том числе в фольклоре. наемники» («Древние тюрки». именно историческая память объясняет «живучесть» и преемственность культурных традиций тюркских народов. культурная память. и сама Русь входила в их каганаты. К сказанному следует добавить: «тюрки были веротерпимы до полной неразборчивости» (Л. который выражается в разных формах. ученые. ученых. Этот . эти качества. културна меморија. стр. Гумилев. что «расовый принцип был чужд культуре древних тюрков» (там же. социокультурная идентичность Какзанова Евгения Михайловна. что в результате создается культурная ткань. Россия Термины-эпонимы: именные памятники научной мысли Эпонимом называется термин. социальный конструкционизм. Вероятно. а также имя нарицательное в обозначении научного понятия. Клучни зборови: елементи на традицијата. он издревле был местом всевозможных контактов разных по этническому составу народов. под разными этническими названиями. внесших вклад в общечеловеческое знание. Ключевые слова: Исторический медиа-календарь. так и независимость от него.

Напротив. он направлен на выявление того критического ресурса (пока не достаточно востребованного). воспоминание. Киридон Алла Николаевна. отличной от фантазматических имитаций целостности. наступает момент «прерывания памяти». включая ее сбои и искажения. Бадью). . Ценностное пространство эволюционирует в зависимости от изменений общественнополитических процессов и смены культурных парадигм.это приводит к насильственному стиранию памяти или попытке «забывания» (забыть. а граждане на глазах превращаются в потенциальных жертв. Ассман культурная память рассматривается. порожденный цивилизацией. вписывают значительную часть исследований травмы и памяти в тот биополитический диспозитив. Не поддаваясь соблазну радикальной редукции. сконструированный субъективностью в настоящем». Стоит отметить: при столь пестром населении. Карут.87 многонациональный регион создал свою самобытную культуру. все же представляется возможным выделить два ключевых подхода. Кавказ. В некоторых работах речь идет даже о формировании новой «мемориальной парадигмы» наук о культуре. Последнее приводит к глорификации или необходимости глорификации прошлого. В Европе благодаря изысканиям П. культура. «память есть образ прошлого. Насколько мы будем правдивы в ее освещении.Мегилла. несомненно. и А. К. При этом «проработанный» (в смысле фрейдовского «durcharbeitung») негативный опыт может быть по-настоящему продуктивным в деле формирования подлинной солидарности. Явление это возникло позднее. кафедра социально-философских наук Нижегородской государственной медицинской академии. этнос. как средство конструирования национальной/социальной идентичности. Любой здравомыслящий человек понимает . травматические разрывы и лакуны культурной памяти. национализм на Кавказе отсутствовал. Что происходит на этапе вытеснения памяти. «прерывистая память». но еще с большим рвением и попыткой утверждения. гомогенность или гетерогенность социума. следствием активного вмешательства времени в процесс памяти является фундаментальное размежевание между ее сохранением и воссозданием. Ключевые слова: память. кафедрa всеобщей истории Нижегородского государственного педагогического университета Культурная память. а затем воссоздания на «зачищенной территории памяти»? Эта память является лишь символом или воссозданием мозаики прошлого? Мы бы ответили – символическим воссозданием прошлого для конструирования национальной идентичности. Соответственно наблюдается смещение акцентов на событийности тех или иных процессов. Лэйз memory studies оказываются полностью зависимы от trauma studies. отдел исследований теоретических и прикладных проблем национальной памяти Украинского института национальной памяти Феномен «точечной» или «прерывистой памяти» По определению американского исследователя А. попытки воссоздания в памяти участников тех событий несут эмоциональный накал и личностный фактор пристрастия. прежде всего. Анализ травматических меток существенно расширяет наше представление о работе памяти. представленная оппозиция весьма условна. традиция. Феномен «точечной» или «прерывистой памяти» обусловлен характером изменений ценностного пространства конкретноисторического периода и потребностью извлечения «нужной памяти». столь валоризованная в современной культуре. Р. В процессе воспоминания/припоминания присутствует фактор времени. При этом акцент ставится на изучении механизмов преемственности – будь то в форме повторения. Конечно. Рюзена.затем – «память возрождения». Как утверждает А. Роль и влияние государства – «заданность» смыслового маркера: государственная политика памяти фокусирует внимание на затребованности тех или иных сюжетов истории. В то же время каждый народ обладает индивидуальным наследием. Кобылин Игорь Игоревич. настолько это обогатит наши познания и увеличит взаимное уважение. соответственно. «Память». которым разбираемые здесь исследования. культ виктимности. trauma studies . во многом отличающуюся от европейской и азиатской. Медикализация и психологизация социополитических проблем. не вспоминать публично). запрет (1960-1990) (существование неудобной истории или несуществующей истории – «А был ли мальчик?» (М. Нора. Ассман. обладают. Я.далее – «забвение» или сознательное вытеснение из памяти события-травмы. особого внимания заслуживает соотношение личного и коллективного восприятия событий. нуждающихся в терапевтической помощи. Ключевые слова: Тюрки. важное значение имеют критерии оценки события.история любого народа богата и своеобразна. как продукт. Кроме того. включающей в себя разнообразные исследовательские проекты. Ключевые слова: исследования памяти. В Украине проявление феномена «точечной» или «прерывистой памяти» можно проанализировать на примере формирований ОУН-УПА и памяти об этих событиях: событие и его восприятие (1940-1950 е годы). Фелман. Ассмана). Николаи Федор Владимирович. Горький). . который согласно Фуко и Агамбену является сегодня господствующим диспозитивом власти. «Неудобная память» может оказаться опять в зоне забвения и. становится «суррогатом политики» (А. или в форме прогрессирующего варьирования («гиполепсиса» в терминологии Я. Однако предлагаемый в настоящей работе анализ отнюдь не является простой констатацией онтологической неизбежности «биополитической ловушки». где отмечены все его взлеты и падения. коллективная память. В текстах Ш. Для американских исследований (особенно после событий 9/11) более важными оказались процессы забвения и вытеснения. Однако у востребованности trauma/memory studies существует также и другая сторона. trauma studies и биополитика В современной историографии все больший интерес вызывает проблематика культурной памяти. идущий рука об руку с фетишизацией безопасности. . Обе стратегии вызваны к жизни понятным стремлением сообществ объединиться вокруг опыта прошлого. биополитика. Й. забвение.

Переход из коммуникативной памяти в культурную обеспечивается средствами массовой информации [2]. Николај Тимченко. В результате мифологизации . . из-за которых межпоколенные различия ощущаются гораздо болезненнее. а в дальнейшем средством перевода её в культурную память. Сорочий Лог. Филозофски факултет. архивных документов. Ключевые слова: идентификация. была охвачена вся Сибирь. огледе и чланке. а предавать забвению. Нами было проведено анкетирование с целью выявления маркеров 20 века в памяти респондентов. При таком подходе крестьянские антибольшевистские восстания. Любимова. подобного рода факты следовало. те је на тај начин донекле исправљена неправда према овом свестрано образованом и значајном културном раднику града Лесковца. децембра 1934. књижевноисторијске. которые нам дадут уверенность в принадлежности индивидов к конкретному поколению и. Песник и завичај’’ (1969). Речь идёт об одной из форм коллективной памяти – коммуникативной. Кључне речи: културни идентитет. заключенных в языке. Любая групповая соотнесённость связана с понятием коллективной идентичности. «это воспоминания. политички идентитет. књижевнокритичке студије.святого ключа возле с. который выступает в качестве транслятора информации. . године и награда са његовим именом. године и у родном граду је радио и стварао. которые не стали свидетелями событий. Сохранение и актуализация памяти поколений позволяют сделать причастными к воспоминаниям те поколения. . которая отражается через систему символов. сочинений сибирских старообрядцев. памятниках. односно проблематизовање питања о томе шта је суштина провинцијског менталитета и да ли провинција постоји или не постоји. Записи о песнику’’ (1972) и . . необходим набор критериев. Любые примеры сопротивления правящему режиму расценивались в советское время как «черная» страница отечественной истории. Записи. Из тих разлога. о политичком. В данном случае необходимо обратиться к тому виду памяти. провинцијски менталитет. «не вписавшиеся» в официальную концепцию события локальной истории получили своеобразное отражение в народной исторической памяти и ритуальных практиках почитания местных святынь. культурная память. получившей распространение в советской историографии. который отвечает за хранение. Коммуникативная память. необходим перевод коммуникативной памяти в область культурной. а студирао је на Филозофском факултету у Београду на одсеку за југословенксу књижевност. Фрагменти из историје Лесковачког позоришта’’. в обрядах. есејистичке. Галина Владиславовна: Институт археологии и этнографии СО РАН Гражданская война в религиозном дискурсе сельского населения: способы сакрализации ландшафта (case study крестьянского восстания на Алтае в 1921 г. а на десетине студија. в исследованиях Я.) Согласно героико-романтической концепции Гражданской войны. которыми в 1920-1921 гг. источником в этом случае служит воспоминание. но без ценностного аспекта отражение памяти не будет до конца полным. а также публикаций местной периодики в докладе рассматривается история одного из наиболее почитаемых мест Алтайского края .е.88 Костадиновић Данијела. По-другому её можно назвать «поколенной». С помощью полученных данных удалось классифицировать критерии отнесённости к поколению. хранивших эти воспоминания в памяти. Ассмана. установљена је 2010. Универзитет у Нишу O културном и политичком идентитету Лесковчана на основу записа Николаја Тимченка Николај Тимченко је рођен у Лесковцу 6. огледа пронађено је у рукописној заоставштини. културном и књижевном животу у Лесковцу 60-их и 70-их година XX века и његово виђење провинције. для того чтобы этого не случилось. Самым явным критерием поколения служит хронологический: в зависимости от года рождения. Особенности поколений отражаются явственнее всего в памяти. передаваемое в устной форме последующим поколениям. как хранение и передача информации. опознавательных знаков и символов. Постхумно је у Лесковцу основана задужбина „Николај Тимченко“. ФГБОУ ВПО «Вологодский государственный педагогический университет» Память поколений как основа коммуникативной и культурной памяти Каждый из нас идентифицирует себя с определённым поколением. I-II (1967). Второй – это источник. память поколений. окончание военных действий в Сибири принято было соотносить с разгромом войск Колчака и освобождением региона от белогвардейцев и интервентов. И четвёртый – это оценка и восприятие одних и тех же событий. условных обозначений. кроме этого. предметах повседневности. пишући филозофске. По завршетку студија најпре је радио као професор у Пољопривредној школи у Лесковцу. године. создавая тем самым условия для групповой соотнесённости и коллективной принадлежности. т. кодификацию и актуализацию памяти поколений. Основну и средњу школу завршио је у Лесковцу. Это объясняется такими свойствами СМИ. све до своје смрти 29. Но чтобы «относить» себя к какой-то группе или «относиться». коммуникативная память. не изучать. На основе полевых материалов автора. коллективная идентичность. и коммуникативная память прекращает свое существование вместе со смертью поколений. ландшафтах – это третий критерий. књига. фрагменти и чланци Николаја Тимченка о Лесковчанима. а потом као новинар и лектор у лесковачком листу „Наша реч“. главным средоточием коммуникативной памяти. децембра 2004. как считалось. Лесковац Кузнецова Ирина Васильевна. Департман за српску и упоредне књижевности. связанные с недавним прошлым и современниками вспоминающего». позволят определить качественные различия между ними. «выпадали» из официального исторического дискурса. за живота Тимченко је штампао три књиге: . Тем не менее. За време СФРЈ Тимченко је сматран за једног од највећих дисидената у Лесковцу због чега је био дискредитован и онемогућавано му је да објављује своје радове у периодици. предмет је овог рада. что в дальнейшем становится основой для формирования коллективной идентичности и культурной памяти. Возникает опасность потери векового промежутка памяти.

89 событий, связанных с подавлением Сорокинского восстания в 1921 г., место гибели «контрреволюционных повстанцев» («мучеников за веру» в народной интерпретации) приобрело статус почитаемого объекта природы. Как констатировалось в официальном донесении тех лет, вскоре после подавления восстания неподалеку от «могилы расстрелянных бандитов» «открылся» святой ключ, куда стало стекаться «огромное количество богомольцев», желавших получить исцеление от различных болезней и недугов. Сохранению памяти о Сорокинском восстании способствовала характерная для Сибири традиция почитания святых мест (прежде всего, водных источников), сакральный статус которых вплоть до настоящего времени поддерживается преданиями о так называемых «явленных» иконах, периодически всплывающих на поверхность воды. Отличительной чертой повествовательного репертуара о святом источнике в Сорочьем Логу явилась произошедшая в ряде нарративов замена «божественных ликов» тщательно выписанными образами «погибших страдальцев». В старообрядческом сочинении «Повесть о святом ключе» они представлены как маленькие босые человечки, известные местным жителям поименно, поскольку «недалеко от ручья», как сказано в тексте, «находятся (их) могилы». Проведенное исследование показало, что механизмы конструирования культурной памяти о событиях локальной истории тесно связаны с сакрализацией местного ландшафта. Ключевые слова: война, религиозный дискурс, сакрализация ландшафта Манева–Чупоска – Јана Стојанка: Факултет за арт и дизајн при Европски универзитет

Трансформацијата на народниот костум и вез од фолклорен дискурс во современ моден систем
Цел на овој текст е да ги анализира и опише дијаметрално спротивните аспекти во процесот на функционирање на народниот костум и современата мода, преку неколку примери од современиот македонски моден дизајн. Текстот е поделен во неколку поглавја кои ги обработуваат различните аспекти на проникнувањето помеѓу фолклорот и современиот моден систем. Во првото поглавје е нагласена функцијата на народниот костум кој е затворен во сопствената фолклорната матрица што претставува неопходен атрибут за неговото зачувување како сегмент од културната меморија, заедно со многубројните традиционални техники на изработка, меѓу кои спаѓа и везот. Спроведени се конкретни етнолошки анализи со акцент на народниот вез на две носии: женската носија од Скопска Блатија и мијачката женска носија. Нивниот избор е условен со автентичниот формален фолклорен дискурс кој го содржат во себе: самото создавање на народниот костум, формата, везот, симболиката на боите, употребата на материјалите итн. Во следното поглавје е анализиран современиот моден систем. За разлика од народниот костум, кој е релативно статичен, современиот моден дизајн има различна функција: променливост, брзина, инсистира на нови форми и постојано менување на стилот. Даден е осврт и на потрошувачкото општество кое наметна индивидуализам во модата што доведе до создавање на нова визуелна култура каде што акцентот е ставен единствено на рекламирањето на модниот производ, без притоа да се инсистира на неговата порака, форма и убавина. Во завршното поглавје се анализирани дизајните на македонските модни дизајнери - Маја Кикириткова и Пандора Саздовска, кои во нивните дизајнерски потписи сугерираат употреба на фолклор и народен вез и се директно инспирирани од женските носии од Скопска Блатија и Галичник. Стилизацијата во нивните модели ја истакнува дизајнерската трансформација на колективната фолклорна меморија во конкретен индивудуален моден дискурс. Клучни зборови: народен костум, културна меморија, моден систем, потрошувачко општество, модна стилизација. Маролова Даринка; Јованов Јане; Голаков Костадин, Универзитет „Гоце Делчев“ - Штип

Култура и јазик
Јазикот е значајно средство со социјален карактер за комуникација меѓу луѓето, а комуникацијата се одвива секогаш во одредена ситуација, т.н. комуникациска ситуација. Во таа ситуација учесниците, поточно комуникаторите егзистираат реално и се социјализираат со текот на времето. При социјализирањето ја запознаваат реалноста на ист начин како и другите припадници на истата заедница. Тие го категоризираат, означуваат и пренесуваат надворешниот свет преку јазикот. Со други зборови, учат како да ја прифаќаат надворешната средина преку јазикот и да се однесуваат во соодветната комуникациска ситуација според правилата на таа заедница. На тој начин преку јазикот луѓето го интерпретираат надворешниот свет на сопствен начин, односно влијаат врз неговото креирање. Освен за да го означи надворешниот свет, јазикот, преку начинот на зборување влијае и врз начинот на размислување и заземање ставови, врз начинот на социјално дејствување и вреднување и сл. Друга функција на јазикот е да ја презентира индивидуата како социјално битие. Со помош на јазикот (заедно со невербалните и паравербалните средства), таа дава информации за себе, за своите мисли, чувства, ставови, доживувања итн. Преку јазикот се идентифицираат и социјалните групи како културни заедници. Ова е можеби и една од најрепрезентативните особини на јазикот, затоа што јазикот се јавува како диференцијална категорија.Со други зборови јазикот се одразува на секој можен начин врз човечкиот живот, било индивидуално, или како дел од поголемата заедница т.е. култура. Иако можеби не е лесно за препознавање, но сепак и културата е вкотвена во јазикот. Голем број на лексички и граматички изрази, начини и содржини на комуницирање се специфични за една културна заедница а непознати, или подобро кажано неприродни за друга. Токму за овој сооднос меѓу јазикот и културата ќе стане збор во оваа научна статија, која ја пишуваме со цел да обелодениме некои факти за јазикот како продукт на културата, но и обратно, за културата како продукт на јазикот. Клучни зборови: јазик, култура, комуникација, заедница, специфика

90 Матијашевиќ - Покупец Весна, Универзитет „Евро-Балкан“ - Скопје

Влијанието на традицијата врз формирањето на ставови кон семејното насилство во нашето современо општество
Во овој прилог ќе се фокусираме пред се на влијанието на традиционалните ставови и промените во нив врз третманот на проблемот на семејното насилство. Ако направиме осврт кон формирањето на односот маж/жена во однос во кој доминира машката доминација и односот насилник/жртва, забележуваме дека тој претставува карактеристика на бројни традиции, што тешко и временски неуедначено престанува да биде составен дел на културите на народи, заедници, региони... Нашето традиционално општество е патријархално. Според тоа и семејството е патријархално. Во периодот на ерозија на патријархалното општество многу ставови се менуваат. Односите во семејствата, улогите на членовите на семејствата, хиерархијата според пол и возраст. Со овие промени се предизвикуваат промени во ставовите кон семејното насилство, пред се во тоа што се доживува како насилство, а што како придржување кон востановените морални норми. Во нашата традиција среќаваме разни облици на семејно насилство и различни ставови кон различни видови насилство, рефлектирани во усното народно творештво. Семејното насилство кон жените и децата (особено од женски пол), ако не ги преминало границите на востановените норми на однесување, често сеуште се третира како придржување кон моралниот кодекс на средината. Прифатено е како судбина и во голем број случаи традиционалниот став и денес го определува односот кон овој вид насилство.Секако, забележливи се промените во гледиштата, како на жртвите на семејното насилство, така и на средината. Прашања на кои треба да се побара одговор можат да бидат: кои ставови потешко се напуштаат, а кои полесно се заменуваат со поинакви; во кои средини и зошто потешко се напушта традиционалниот став; што се може да влијае врз формирањето на поинакви ставови итн. Клучни зборови: патријархат, семејно насилство, традиција, промени, ставови Михальченко Сергей Иванович, Брянский государственный университет имени академика И. Г. Петровского

Мемуары русских эмигрантов как источник культурной памяти (на примере «Воспоминаний» Е.В.Спекторского»)
Мемуары – важнейший исторический источник. Особую ценность приобретают мемуары в тех случаях, когда реконструкция событий по другим источникам невозможна либо затруднена. В этом отношении особую ценность имеют воспоминания русских эмигрантов первой волны (1920-х – 1930-х гг.). Значительная часть из них опубликована, однако есть и до сих пор хранящиеся в архивах. Одним их таких источников являются 900-страничные «Воспоминания» Евгения Васильевича Спекторского (1875-1951), известного философа, историка и юриста, бóльшую часть своей эмигрантской жизни прожившего в Югославии (КСХС) и преподававшего в университетах Белграда и Любляны. «Воспоминания» долгое время считались утраченными при бегстве Спекторского в Триест в конце апреля 1945 г. Однако, по счастливому стечению обстоятельств, это оказалось не так. Текст «Воспоминаний», наряду с другими сочинениями, был сохранен учеником Спекторского В.Боначем и куплен архивом Института Восточной Европы Университета Бремена (Германия) (Forschungsstelle Osteuropa an der Universität Bremen. Historisches Archiv). Текст хронологически обнимает собой всю жизнь Спекторского до начала 1930-х годов, причем изложение обрывается на полуслове. Текст содержит множество подробностей как частной жизни Спекторского, так и событий эпохи, свидетелем которых он был. В мемуарах подробно рассказывается о жизни и деятельности как эмигрантов, так и населения Югославии. Спекторскому, как юристугосударствоведу, было интересно устройство нового государства. Ученый отмечал, что «новое государство оказалось пестрым в вероисповедном, племенном и юридическом отношении». Спекторский отмечал огромную волокиту, характерную для решения любого, даже мелкого, дела в югославских государственных учреждениях. Затрагивал Спекторский и «македонский вопрос». Наряду с наблюдением над политическими реалиями, русские эмигранты не могли не обратить внимания на бытовую сторону жизни сербского общества. Непривычны оказались обычаи, с которыми они столкнулись. Мемуарист, в частности, отмечал отличное, чем у русских, отношение сербов к православию, - их понимание христианства героическое, а не аскетическое, как у русских; много писал о сербских праздниках и обычаях.«Воспоминания» Спекторского, несомненно, важный источник по истории как межвоенной Югославии, так и по истории русской эмиграции. Ключевые слова: Младеновски Марјан: Универзитет „Евро-Балкан“

Македонската младина помеѓу етничкиот и националниот идентитет: социјална дистанца vs. меѓуетничка доверба
Изградбата на новиот општествен систем на самостојна Македонија донесе редефинирање и на односите помеѓу различните етнички заедници. Со оглед дека колективната меморија не паметеше поголеми судири на етничка основа, се претпоставуваше дека изградбата на македонскиот граѓански идентитет нема да биде тешка задача. Но, настаните пред и особено за време на 2001 год. покажаа дека ниту македонското општество не остана имуно на „Балканскиот синдром“ на меѓуетнички превирања. Како резултат на доцната независност и меѓуетничките несогласувања, изградбата на македонскиот национален идентитет се одвива со низа потешкотии. Етничката сегментираност (особено по 2001 год.) меѓу двете најголеми заедници (Македонци и Албанци) е евидентна во сите сфери на општеството: учениците одат во одвоени школи, студентите во одвоени Универзитети, младите излегуваат на посебни места, луѓето се селат од

91 мултиетнички во моноетнички средини, медиумите, политичките партии, граѓанските асоцијации имаат етнички предзнак... Неретки се и конфликтите меѓу младите на етничка основа: во автобусите, стадионите, училиштата... Се чини дека во таквата (неповолна) констелација на околности, младината во Република Македонија се повеќе се приклонува кон етничкиот наместо кон националниот (државниот) идентитет. Тоа е и самиот предмет на трудот: утврдување на нивото на меѓуетничкото познавање меѓу младите (и присутноста на етничките стереотипи), како и степенот на меѓусебната доверба односно социјална дистанца; сето тоа во контекст на етно односно националното припаѓање. Вака поставениот фокус „бара“ истражувачка димензија на трудот. Затоа во утврдување на појавата, покрај релевантни извори, се користени заклучоци и од сопствено истражување на ставовите на младите од мултиетничките средини, припадници на различни етнички заедници. Заклучоците од истражувачкиот труд создаваат перцепција за актуелната состојба на меѓуетнички план во Македонија, креираат проценка за досегашните резултати во изградба на „меѓуетничкиот соживот“ и ги посочуваат насоките на изградбата на идното македонско мултикултурно општество. Клучни зборови: млади, етничка заедница, идентитет, социјална дистанца, меѓуетничка доверба Мозговый Иван Павлович, кафедрa социально-гуманитарных дисциплин Государственного высшего учебного заведения “Украинская академия банковского дела Национального банка Украины”, г. Сумы

Культурная амнезия как идеологический акт
Культура как выражение непрерывности жизни явлений и результатов творческой деятельности людей представляет собой сложный синтез традиций и новаций, где приуменьшение значимости одного из компонентов не только наносит непоправимый ущерб другому компоненту, но и грозит превратить в руину весь феномен культуры. Потеря культурной памяти может быть как спонтанным явлением, так и результатом сознательного воздействия, например, целенаправленного давления на культурную память со стороны государственной идеологической системы, стремящегойся изменить картину культурной памяти в интересах провластных слоев. Это идеологически преднамеренное разрушение памяти об определенных событиях лицах, которое носит характер политических репрессий. В таком случае в соответствии с политической волей происходит уничтожение памятников, надписей, сооружений, переписывание текстов и т.п. действия, направленное на изъятие из публичной сферы и коллективной памяти определенных лиц и событий. Подобные политические акции характерны для истории Древнего мира, Украины советского периода. Еще одним видом забвения со следами памяти является предписанное умолчание. Это как бы акт общественно одобренного забвения и “прощения” всего того, что было совершено в предшествующий период, принимаемый как бы в интересах политического примирения и гражданского согласия. Особенно часто подобного рода акты сопровождают выходы общества из периода гражданских воин, революций, диктаторских режимов. Хрестоматийным примером актов такого рода является принятый в Афинах в 403 до н.э. декрет об амнистии. Он знаменовал окончание эпохи тирании. Для напоминания о том, что все это следовало забыть, на Акрополе был воздвигнут алтарь богине Лете. Подобная стратегия применялась в Европе, ЮАР, некоторых латиноамериканских странах. Озвучивается идея примирения носителей полярных идей второй мировой войны и в Украине. Но не следует смешивать акты гражданского примирения, направленные на упрочение общества, и культурную амнезию, имеющую целью разрушение такого общества. Так, забвение фактов переписывания истории Украины, попытка умолчать социально-культурные преступления коммунизма, насилие в СССР над религией, свободой слова, литературой, искусством подрывают основания современной культуры. Ключевые слова: амнезия, согласие, память, забвение, прощение. Мојсова - Чепишевска Весна: Универзитет „Св. Кирил и Методиј“

Семејната меморија низ (авто)биографската призма Егејци
Теоријата на постколонијалната критика го истакнува фактот дека потискувањето на приказните кои се однесуваат на трауматичното минато или на т.н. „непријатни епизоди“ нема да може да ги разреши проблемите со кои денес се соочуваме. Книжевноста воопшто, а романот посебно, имаат таква моќ постојано да потсетуваат на минатото, или како што воопштено вели Доминик Ла Капра „Минатото доаѓа во вид на текстови, текстуализирани остатоци-сеќавања“ (La Capra, 2001:21). Особено кај романите кои се дадени во вид на сеќавање може да се воспостави аналогија меѓу книжевноста, која во крајна линија е можност за репрезентација на траумите во минатото, и траумата, која, пак, се дефинира како криза на репрезентацијата, вели Георгиевска-Јаковлева во својот текст „Егзилот како трајна траума или егејската тема – заборавена/забранета историска приказна“ објавен во Спектар (2011:369, означеното е мое). Да се потсетиме на одредбите од Договорот за Европската Унија во кои се дефинира правото на секој поединец и држава на своја историја, култура и традиција т.е. правото секој да ги штити своите интереси. Дали на Македонија ѝ се дозволува / ѝ се овозможува овој општ принцип? Зашто прашањата поврзани со меморијата не се однесуваат толку на минатото колку на актуелните политички проблеми. Романизираната автобиографија Егејци на Кица Б. Колбе (Скопје: Култура, 1999), која ја содржи и биографијата на Ефросина Грежова Кле, снаа на познатиот швајцарски сликар Паул Кле, и книгата По свое (македонски катахрезис или како да се зборува за Македонија) на Бранислав Саркањац (Скопје: Маквеј, 2009) даваат можност да не станеме и останеме само набљудувач на нешто во кое нè нема и притоа да се објасниме и разбераме себеси и да знаеме да го вреднуваме она на што му припаѓаме, како историја, традиција, култура, но и она што е наше, што ни припаѓа. Клучни зборови:

замката заради таинствената интимност и поседувањето хипнотичка моќ и способности. Toa ќе дозволи да се осветли важноста на темата која многу години од политички причини беше скриена или флена во заборав. Исто така врз индивидуалните животи во реферат ќе се одбележи користена терминологиа на прогонетите / бегалци од Егејска Македонија. преку заемната спрега на моќ и поседување на/со домот. за езотеричните човекови искуства на осознавање на светот. кои најдоа засолниште во Полска. идентитет. Искористените. инверзна колонизација. кои постојат во меморија на поединецот. Друг. кон политичкиот Друг) за воспоставување еквиваленција и надминување на угнетувачкиот потенцијал во етичко-политичкиот контекст.која ги одредува или ги испитува границите на можното) преку трансформирање и еуфемизација на одредени атрибути може да се третира како апелациона категорија насочена кон Другиот (на пр. заради тоа што паланката воспоставува систем во којшто жителот-паланчанец е објект во нејзиниот едноличен свет згрозен од различноста на другите светови/домови. Етимолошкото значење на „дом“ (оттука: доминација. третманот на вампирот како отпадник во општествено-социолошки контекст. Во светлината на објавени материјали.92 Мороз-Гжелак. ја потцртува неговата граничност поместувајќи го концептот на доминантните бинарни структури (Запад-Исток) и воведувајќи го граничниот меѓупростор и прашањето за Балканот како европски Друг. мимикрија) токму преку современата трансформација на вампирот. Некои од нив се опасноста „да инфицира“ со својата Другост. Балкан Памукова-Савеска. го одржува устројството на . абјектноста на неговата прегратка која и привлекува и одбива заради опасноста од исцрпување на енергијата. историска исклученост Нолевска Николинка: Институт за македонска литература – УКИМ Вампирот и културната меморија (аспекти на постколонијалната критика) Популарноста на вампирот како лик никогаш не згаснала. но и скротување/припитомување). бегалци од Егејска Македонија. Клучни зборови: културната меморија на нацијата. неговите атрибути и наративи. домот ќе го разгледувам и преку определбата на Ентони Смит за татковината како „складиште на меморија/спомени и историски асоцијации“ и една од компонентите што ја дефинирааат националната држава како чувар на националниот идентитет. Покрај тоа. етничка заедница. Документи 1948-1975. како и со психаналитичките теории (абјектноста). Вкрстувајќи се со трансцедентните прашања за човековата природа и нејзината суштина. упатува на домот како категорија којашто произведува симбол на моќ со права и привилегии коишто му овозможуваат на жителот да наметнува преку поседување и трансформира преку живеење (Фезант и Зунига). Со оглед на современите тенденции. како и нивната истрајност во културната меморија на нацијата. Предлагам дека едно возможно толкување за успешноста на оваа појава е разбирањето на поимот „дом“ и неговото опстојување како нарација на паланечкиот жител во рамките на неговиот менталитет (Радомир Константиновиќ). политичките. истиот. во овој случај покажа формирање на "колективна меморија" во политичкиот живот кои предизвикува емоции. втурнувајќи го вампирот во концептот на културната меморија се ревидира прашањето за содржината што оваа митска фигура ја нуди и истовремено. осудувајќи да се заборави меморија на поединец. Категоризиран како нарација на општествениот простор. опишувајќи судбината на македонското население протерано од териториите населени со нив.. материјали ќе бидат извор и егземплификацијата во проучуванјето на темата. Лила: Институт за славистика на Полската академија на науките Македонски бегалци и процесот на обновувањето на колективната меморија Во рефетатот Македонски бегалци и процесот на обновувањето на колективната меморија ќе бидат презентирани поблеми/ прашања поврзани со промените кои настануваат во процесот на трансформирање на комуникативна и колективна меморија. Обиди да се манипулира со историјата на нацијата. интерпретацијата на вампирот не останува ограничена како митска и фолклорна експликација. Во овој контекст ќе биде докажано како спомен на еден поединец во новата ера се трансформира во колективната меморија. Мекедонија и медицина). пред се пецатени во Полска. за имагинативниот дел од човековото опстојување. Преземен од фолклорното творештво. меѓу нив и материали печатени во Полска (Македонските бегалци во Полска. за артикулацијата на нејзината содржина од аспект на историјата. Бројни карактеристики на вампирот стануваат интересни од аспект на воспоставувањето релација со Другиот. културните процеси во глобалниот светски поредок. Од друга страна. а овде синегдоха за „татковина“. вампирот како лик прераснува во метафорична структура која ги рефлектира општествено-социјалните. Клучни зборови: вампир. колективната меморија. Индивидуална меморија се состои од комплексната интеракција со целиот општествен и политички живот и почнува да ја создава социјалната врска врз основа на чувство на припадност кон одредена заедница или чувство на историска исклученост. постколонијална критика. вампирот како една од материјализациите на имагинативната сфера на културата (книжевноста . малцински дискурси. Гордана Силјан Штркот и црната дупка во нарацијата на македонскиот национален идентитет Во контекстот на македонското општество од исклучителна важност станува идентификувањето на себството преку националниот идентитет. со претпоставка дека историјата претставува амалгам од разнородни мемории. важно прашањето ќе биде откривање на забранети теми. А со тоа се интерпретираат конструктите на постколонијалната критика преку вампирот како продукт на една гранична култура (балканската) (двоен и хибриден идентитет. Со користење на категоријата "меморија" се уште го покренува прашањето на односот на меморија во проучување на сопстевеното минатото. културната меморија најчесто е поврзана со манипулацијата на хегемонистичкиот дискурс. Напротив. Според Спивак.

итн. почнувајќи од почетокот на векот до најново време. Институт за фолклор „Марко Цепенков“ . Г. глобализација. Можам да ги споменам сопствените тереснки искуства при истражување на традиционалната свадба. Клучни зборови: Реклама. Понатамошниот брз развој на фотографијата овозможува јавување на семејните фотоалбуми кои се најпрво животно-историски класификации. свадбите. Клучни зборови: семејна меморија. традиција. "европеизација" и културна глобализација. семејство. идентитет. инвенција. фотоприказна Петрова-Џамбазова Снежана: Институт за македонски јазик „Крсте Мисирков“-Скопје „Културната рамка на јазичниот израз во рекламните пораки“ Рефератот содржи примери од рекламни пораки на македонски производи на македонски јазик и нашата цел е да го засегнеме културолошкиот аспект на македонските реклами. од една страна. колективност. рекламни пораки. европеизација. на индивидуалната и колективната меморија. Појавата на фотографијата претставува важен и свечен настан и предмет со раритетна вредност. Сите овие настани главно беа раскажувани преку фотографијата. креација. Во овој прилог. крштевка. терен. македонска драмска литература Петреска Весна. Преку тројната структура којашто се провлекува низ драмскиот израз: драмата како своевидна реитерација на минатото видена преку рамката на приказната. паланка. на колективното наследство сочувано во националните митови и големите наративи. кога се забележуваше голема возбуда кај кажувачите кога кажуваа за свадбата што им ја правеле на сопствените деца. Дуковски во своите драмски текстови инвентивно ги разоткриваат актуелните дилеми околу човековиот личен идентитет и интегритет. Земени се предвид повеќе од 100 рекламни пораки со цел да се илустрира и да се добие поцелосен преглед на инвентивноста и креативната моќ на нивните создавачи. Во овој контескт можат да се споменат семејните албуми со новороденче. којашто дополнително е нарација базирана на „древно“ верување. тогаш и домот станува јавен . фотографија. драма со канонски статус во македонската литература. а неретко и трагична дезориентација. домот ќе биде анализиран како носталгичен елемент (Светлана Бојм) којшто тежнее да постои севременски преку бесконечна (ре)продукција на нарацијата во која личниот идентитет е возможен единствено преку ре-поседување на домот и неговото постоење во колективот. родендени. конзумент . Ј. раѓање на дете. Таквото спротивставување на повеќе културни модели предизвикува драматични судири во идентитетската свест на ликовите. со посебен акцент врз улогата на културниот феномен во ергативната (персуазивната) цел и моќ на пораката и вештината во употребата на јазичните средства во македонските реклами. Клучни зборови: дом. нација. Величествениот однос кон фотографијата. преку примери од македонската современа драмска литература. Фотографирањето се вршело на значајни и свечени настани за семејството. губење на стабилните идентитетски основи. како што биле на пример домашните прослави. правиме пресек на битните идентитетски прашања што се поставуваат пред современиот човек. Стефановски и Д. Бидејќи во паланката границата меѓу јавното и приватното е разјадена. Претходното ќе го демонстрирам во фолклорната приказна за Силјан Штркот и нејзиното проткајување во „Црна дупка“ на Горан Стефановски. но и на актуелните процеси на нагласена "балканизација". нарација Петковска Нада: Факултет за драмски уметности-Скопје Културната меморија и потрагата по стабилни идентитетски основи Културната меморија претставува клучен фактор во формирањето на човековиот идентитет.Плевнеш. Во првите децении на XX век фотографирањето претставувало важен и свечен настан.93 идентичност. потрошувач. со сериозни ликови на фотографиите и најчесто тоа беа групни семејни фотографии. идеологијата на националниот идентитет како категорија којашто функционира врз колективната логика е одраз на паланечкиот страв од себството/интимата и отвореноста кон непознатото од онаа страна на паланечкиот дом.сѐ тежнее да стане еден дом. преку соодветниот јазичен израз пред сè. што е резултат. културолошка порака. обреди. Иако за визуелните документи кои настануваат во состав на семејството или се поврзани со животот на определена личност кои исто така бележат исклучителни моменти во текот на протокот на време на едно семејство или пак да се работи за обредите на премин (свадба. смрт и сл.Скопје Семејна меморија и фотографија Истражувањето ја разгледува семејната меморија преку фотографијата. Со понатамошниот развој на оваа технологија фотографирањето станува дел од секојдневното живеење.) се смета дека го отсликуваат идеалтипското доживување на самиот себе или на семејството. особено доаѓаше до израз кога кажувачите ќе ги извадеа грижливо чуваните фотографии. како еден од важните услови за исполнувањето на целта на ваквиот вид пораки. сепак во истражувањето ќе се земе предвид комуникацискиот аспект што го нудат фотографиите во текот на теренското истражување. персуазија (убедување). но и можноста за правење фотоприкаска. како и да се добие слика за правилната употреба на јазичните средства. јазик. нација. кој се чини се помалку можеме да го објасниме со зборови. и најчесто тоа беше поткрепено со тематски средениот фотоалбум или грижливо чуваните фотографии кои значително им го освежуваа сеќавањето за текот на свадбените обреди и добивав впечаток дека тогаш многу полесно можеа да се сетат како се одвивал текот на свадбата. Оттука. тематизирајќи ги главните фази од животниот циклус. дел од нашиот начин на живот. од друга страна. свадба. односно нарација. станува дел од нашата култура. итн. Акцентот е ставен на искуството здобиено при сопствените теренски истражувања кога предмет на интерес беше семејната меморија раскажана со фотографијата. Клучни зборови: културна меморија. балканизација.

Словацкая Республика Парадоксы культурной памяти (театра) И в области театра историческая память сегодня сохраняет большое сходство с предыдущим периодом социализма. Институт за фолклор „Марко Цепенков“ . Клучни зборови: обреди со маски. учебникар. која е декоративно осликана. апостолски четива . кој ја доживува истата судбина како и многу наши интелектуалци од тоа време. фолклор. Во таа смисла фолклорот се гледа како комуникациски процес кој се актвира во мигот кога гледачите го прифаќаат како перформанс. музејки предмет. Компилацијата од автентичен иконопис и други пресликувања постанаа симбиоза од паралелни светови на презентираните сликарски периоди и иконописни стилови. бидејќи постојано се менуваат. како и документирање за потеклото и претходниот изглед преку фото документацијата за состојбите кои го идентификуваат ентитетот на експонатот. Актуелизацијата на традиционалните обреди со маски најчесто се изразува со нивната травестијата. Документираната претходна состојба во која се евидентира изгубениот дел од ентитетот на дел од иконите. Проучувајќи ја животната и творечката судбина на Кузман Шапкарев доаѓаме до заклучок дека станува збор за една многу амбициозна и флексибилна личност. Дагмар: Институт театра и кино Словацкой академии наук. води кон понатамошна нивна промена. В нациoнальных и мультикультурных контекстах. Несомнено е дека начинот на изведба на овие обреди во современи услови добива нови значањеа и функции.Скопје Обредите со маски и популарната култура Во текстот ги истражувам обредите со маски во Македонија денес. Стекнатата навика да ги прифатиме овие дела како завршена осликана целина. ја збогатуваат колективната свест.94 Петровска . вербални и ритуални елементи. а не како затекнат изглед. популарна култура Подмакова. Имајќи ги предвид досегашните сознанија можеме да кажеме дека општо земено трансформацијата што се случува во обредите со маски. како и заднината на дел од други икони. Овие реалитети не се утврдени еднаш за сите времиња. па така наместо магиско обредната функција во нив доминира забавната. воедно учествуваат во прекините на ланецот од информации. го потврдуваат времето во кое биле создадени. Поповска Ангелина. а новите откритија го поттикнуваат професионалниот багаж . односно ги отсликуваат животот и дејноста на минатите и сегашните генерации. успева да се вивне во културната меморија на македонскиот народ и да опстои до ден-денес како еден од најзначајните претставници на македонската културна преродба. македонскиот идентитет. распнат меѓу грцизмот. создаде замрзната колективна меморија. На овој начин тие стануваат културални перформанси во кои симболичкои материјал ја дефинира нивната форма. Театру это не нужно. и зрители. Ему нужна тема. вклучувајќи ја и рељефната дрвена икона. Современное искусство часто служит политике.Кузманова Катерина. туку и извор на некои од најзините техники. книга. трансформација. ноябрь 1989 года. преку обработката на архивскиот материјал и современата состојба на теренот ќе се покажат овие промени кои се случуваат при реконструкцијата на обредите со маски. Историските предмети. а пред сè. Этому подвержены и театральные деятели. кон создавање определени туристички и културни манифестации преку кои се промовира регионот или местото каде што се одвиваат. Во настојувањето на поврзувањето со одредено минато и воспоставувањето на новата „традиција“. бугаризмот и македонизмот. во исто време сведочејќи за настаните поврзани со ликот и делото на одредени македонски преродбеници и учебникари. изведба. почнува неограничено да се напојува од другите познати модалитети. Стагнацијата кон новите сознанија уште повеќе го заложи нивниот образ во една стара замисла. порой и сами историки. Со тоа тие не можат да се сметаат единствено како тема на антропологијата. одамна го запечатија својот репрезенатитивен израз. а новите сознанија поткрепени од недеструктивните мултидисциплинарни истражувања создадоа нови контракции во културната меморија. Клучни зборови: Кузман Шапкарев. Музејските збирки имаат особено значење. при што ќе се обидам да ги претставам нивните функции со кои стануваат дел од популарната култура. Разбирањето на изведувачкиот процес станува начин да се разбере процесот на создавањето на културата. Ключевые слова: Словацкий театр. культурная память Попантоска Анета: НУ Музеј на Македонија Музејските предмети неизбежна алка на македонската културна меморија Културната и колективната меморија на еден народ се претставува и обновува токму преку визуелизирање и адекватно прикажување на музејските предмети. Сепак. кои по инерција го прилагодија јавното гледиште кон сегашниот презентирачки изглед на охридските икони. преку употреба на супститути на неговите најбитни пластични. а под заштитничката рака на својот ментор Јанаки Стрезов. театральные деятели. Чехо-Словакия. кои му оставиле завет на својот народ достоинствено и упорно да го негува македонскиот јазик. благодарение на својата упорност и стоицизам. Оваа заложба се должи на минатите научно-истражувачки работи. покрај тоа што се составен дел од постојаната музејска поставка. преку создавањето на и изведбата на симболите кои луѓето ги создаваат како свои реаллитети. новая политическо-общественная ситуация. Братислава. Недеструктивните методи применети со Инфра црвена спектроскопија за идентификацијата и диференцијацијата на долниот автентичен иконопис и горните пресликувања. Национален конзерваторски центар-Скопје Експонатот како трезор на информации Светски познатите иконописни дела од Галеријата на икони во Охрид. затоа што го поврзуваат минатото со сегашноста. Егзактните соочувања со новите информации ја надминуваат сегашната дидактична естетика.

хипермислење.. логика.фактор за одржување на културната меморија Поаѓајќи од современите теории кои под поимот конзервација не подразбираат само заштиита на физичката материја. но се поголем акцент ставаат на заштитата на нематеријалните аспекти во кои традиционалните знаења и вештини претставуваат значајни компоненти. да се тежнее кон повеќеслојна и мултилатерална глобална култура. судир на мемории. документација. нужно е глобализацијата да биде проникната од Глобалната етика (која е во развој. Клучни зборови: икони. Текстот поаѓа од тезата дека недостатокот од свест за потребата за заштита на традиционалните знаења и вештини кои се во функција на конзервација и реставрација на недвижното наследство. да се дејствува во насока на приорирање и одржување на културната меморија. најмомоќното оружје на иднината. Секако. процесот на глобализацијата. посредувани мемории. Клучни зборови: културна меморија.. и покрај тоа што за него ќе се говори во смисла на аргументативен прилог на динамиката / можните непредвидливи флуктуации на моралот – и. Во тој контекст. без да бидат заобиколени и т. во фокусот на ова излагање нема да биде поставено истажувањето на расниот феномен. унификација. следствено. секогаш ќе биде во развој / ќе се развива. да се дејствува во насока на дезунификација на културата (при што. аксиолошко вмрежување.95 кон пласирање и пренос на новите откритија во други едукативни форми кои ги иницираат и инволвираат емитирањата од трезорните информации. културен идентитет. културните проекти како “алатки на моќта“.. Со тоа исчезнува културната меморија и се создав виртуелна (новокомпонирана) културна меморија со која се менуват вообичаените матрици на . Културната меморија и нејзиното промислување во најразличните форми и трансформации кои што овој поим ги доживеал или може да ги издржи е едно од клучните прашања на иднината – прашање кое отвара нови низи од прашања. инфрацрвена спектроскопија. односот мит / претстава – слика.е.. временски дилатации. без да се земе во предвид интегритетот и целовитоста на културните добра. предизвикувајќи ја ароганцијата и идендиферентноста за начинот и презентацијата на охридските икони. Поповски Радомир: УКИМ Можните рефлексии од глобалните етички кодекси/кодови при профилирањето на македонскиот културен идентитет: културната меморија и нејзиното вмрежување од аспект на интересите на моќта Ова излагање е посветено на динамиката/менливостите во рамките на глобалната ситуација што доведува дури и до противечности – противставености на етичкиот план: доволно е да го посочиме примерот со Клод Леви-Строс и неговиот однос кон феноменот раса. да се ефектуира една издржлива универзална култура и културалност користејќи се притоа (и потсилувајќи ја) Универзалната етика – во смисла на глобална. токму агенсот културна меморија е од клучна важност). универзална етика.. меморија Поповски Златко. на можностите од проектирани влијанија врз културната меморија. ајде да ја наречеме “пост-глобализациона ситуација“ со нејзините позитивни и негативни импликации (и можностите да се влијае превентивно од позиција на културната меморија. во комбинација со специфичните закони за заштита на културното наследство во кои се бара обнова само на надворешната форма. фасадизот и замената на оригиналните структури со нивни современи копии. и која што – со оглед на сѐ побрзата развојност. Меѓутоа. превенирањето и профилаксата на културниот идентитет наспроти неговата глобална димензионираност – како “униформност“. а во функција на опстојот и опстојноста на различните култури/идентитети – на еден малку парадоксален начин: формирање на Едноста/Целовитоста на homo sapiens-от т. па да насетиме за што станува збор. неодминлив е аналитичкиот приод кон прашањата на. ИМЛ Забрзаниот растеж на научно-образовните достигнувања во глобални рамки и “забавувањето на балканскиот чекор“: еден осврт на глобалните рефлексии врз македонската културна меморија и идентитет Ова излагање треба да укаже на продлабочувањето на јазот помеѓу “големите“ и “малите“. НУ Музеј на Македонија Конзервација на Традиционалните вештини . истражувања. држејќи го при тоа курсот на опстој на homo sapiens-от). прашањето на менливоста на вредностите.. но која што нема “да ги избрише“ помалите и понемоќни култури (во чии што контекст можеме да ја поставиме и македонската култура). придонесува за постепено исчезнување на материјалното и нематеријалното наследство. кругот суштествувањето како развојност на човекот како Тукабитие. космополитска етика. за да се сведат на минимум возможните злоупотреби од Моќните. секако. самосвојноста/автентичноста и моќта на поединецот и заедницата. Поцевска Валентина. етичката вмреженост при профилирањето. Особено ќе се земе предвид релацијата помеѓу културната меморија и општествените институции / културни продукти како и релацијата помеѓу културната меморија и секојдневниот живот. предмет на истражување на посочениот триуд е анализа на постоечката пракса во македонскиот систем на конзервација во кој како доминантни форми се истакнуваат реконструкцијата.н. како и нови одговори. икона / меморија. културниот идентитет. Клучни зборови: културна меморја.

наделяя свое выставочное пространство определенными смыслами и транслируя их посетителям. происходит переосмысление роли и места историко-культурного наследия в жизни общества. 2004]. обреди и песни во штипското село Лесковица. Младите генерации сѐ повеќе ги отфрлуваат обредите и обичаите. Таким образом. Ключевые слова: историко-культурное наследие. презентизм (в отличие от пассеизма или футуризма) утверждается лишь в эпоху постмодерна. Ако во доменот на архитектонското наследство. Определяя политическую и культурную жизнь современного общества. Анализ этнонациональных дискурсов позволил выделить следующие виды современных коммеморативных практик: удревнение этнической культуры. публикаций местной периодики и авторских полевых материалов в статье рассматривается деятельность региональных учреждений культуры (музеев и этнокультурных центров). этническая и региональная идентичность. – отсюда повсеместное появление экологических музеев-заповедников [Артог. которое надлежит охранять. Милена: Универзитет „Св. во кој би се синхронизирале материјалните со нематеријалните атрибути на културните добра. Лесковица. трансферот на архетиповите и верувањата во словенската митологија. ставшее «способом осознать собственное настоящее». Вторая половина XX в. незнаење на нивното симболичко значење и реконструирано изведување од страна на младите генерации што придонесува за комплетно губење на примарната смисла. прошлое. губење. Самый последний этап расширения понятия связан с распространением его на природные объекты. блаженоста на бракот. содержание которого на разных этапах развития науки менялось. а денес подзаборавена. воедно. этнонациональный дискурс. раскршувањето на едно семејство и зголемувањето на друго итн. Будучи одной из форм восприятия времени. со тенденција денешните генерации. поради незнаење на симболиката на обичаите и обредите. когда ценность приобретают только сиюминутные ощущения. кои се изведувале во периодот до 50-тите години на минатиот век. така и хеременевтичките толкувања на свадбените песни. сохранении и распространении историко-культурного наследия населения региона. В настоящее время в него принято включать не только материальные объекты культуры (предметы искусства и памятники истории). Огромную роль в современном восприятии прошлого играет понятие «наследие». ознаменовалась возрастающим интересом к историко-культурному наследию. расширение этнополитических границ в территориальных и временных рамках. некогаш многу опсежна на нашите простори. Тие. Штипско Свадбените обичаи. Музеи становятся институтом. идентификация своего этноса с местными археологическими культурами. но и любые нематериальные творения представителей определенного региона или социального слоя. места памяти. но се во фаза на ненегување. а также роль общественных и религиозных организаций в формировании образов прошлого. представляющим символы этнических групп.како симболиките на сите тие обичаи. обусловлен особым типом исторического мышления. Во нашиов труд имаме тенденција нашата теза за реконструираните свадбени обичаи и песни и нивниот пат на реконструкција да ја поткрепиме со: Јунговата теорија за „колективното несвесно“. в том числе в Республике Хакасия. Кирил и Методиј“-Скопје Реконструкција на свадбените обичаи и песни во с.96 поимање на нештата. имаат аспирации за обновување на одредени клетки од колективната меморија.). который обозначается термином презентизм. по словам французского историка Франсуа Артога. Отдел этнографии Федерального государственного бюджетного учреждения науки Института археологии и этнографии Сибирского отделения Российской академии наук (ИАЭТ СО РАН) Концепт «историко-культурное наследие» в этнонациональных дискурсах Хакасии: проблема символизации исторической памяти (конец XX – начало XXI в. Клучни зборови: Самушкина Екатерина Викторовна. возрождение прежних и создание новых священных локусов. книжевници и младенци да знаат која е симболиката за изведба на обичајот и со тоа да се избегне механичкото изведување на истите. Како форма постојат и денес. преку овој труд ги истакнуваме . а со тоа да се прикаже патот на реконструкција на обичаите. Воедно. со сите свои карактеристики претставуваат еден вид архетип како дел од колективното несвесно за кое говори Јунг. обретает утраченную ценность. која има сосем позитивна конотација: поврзана е со плодноста на младоженците. В его основе лежит разочарование во всех иллюзиях и идеалах. денес доживуваат реконструирање и губење на основното значење и симболизирање. во кој е изразена идејата за синтеза на материјалното и нематеријалното наследство низ концептот на автентична експресија на одржување на наследството преку одржување на живите традиции на пракса. со тоа би се отварил простор за организирање на интегриран пристап во заштитата на наследството. Природа теперь тоже воспринимается как наследие. се резултат на остатоците од словенската митологија. се прифати пристапот во кој конзервацијата се сфаќа како контролирање на промените. . а вредноста на автентичноста на традицијата се сфати како еден вид на нематеријално наследство. образы прошлого. На основе архивных документов. Обичаите и песните што се изведуваат денес за време на свадбените прослави. Клучни зборови: Ристова-Михајловска. процесс коммеморации. да се направи споредба со остатоците од базичните обичаи што се изведуваат денес. В настоящее время в Российской Федерации. Симболиките останаа да ги толкуваат денешните генерации кои преку науката за книжевност и истражувањата на терен. Целта на овој труд е да се истакнат свадбените обичаи и песни во нивната базична форма. Конструирование новой региональной и этнической идентичности сопровождается обращением этнонациональных элит к образам исторического прошлого.

это символы и традиции. а други локално значење. односно епископ Тивериополски. Ключевые слова: медиа-контент. ему придается новое значение. Таков е случајот со многу светители. култ. слепата жена што го доживеала првото чудо по погубувањето на светиите. танцев. Однако он менее всего обращен к той. так и ценностно негативные его составляющие. Представленный материал позволяет дистанционно определить фактологическую составляющую наших представлений о той или иной стране и нации – то. Интернет. преданија. ставших своеобразными «визитными карточками» таких стан. Тие биле канонизирани за светители. тормозящие наше обретение современной культурной идентичности. прогледувајќи благодарение на отсечената рака од Петар. Переоценка ценностей культурной памяти интенсивно перемещается в медиа. особенности национальных видов спорта. 15 Тивериополски свештеномаченици кои се првите локални светители меморирани во свеста на струмичани и меѓу првите во овие предели пострадани за верата за кои дознаваме од пишани извори. Тем самым по исходному контенту можно достаточно четко выявить не только интерес пользователей сервиса к тому или иному случаю из жизни конкретной страны. В своем медийном выражении культурная память приобретает новую ценность. Струмица Сарна Александр Янисович. разрушения ее целостности. Денес оваа реликвија се чува во Кукуш каде што исто така култот на светите 15 Тивериополски свештеномаченици се уште живее. как США. а подоцна. во времето кога бил епископ на Велика и Дрембица. это забавные случаи и достаточно драматические происшествия. не адекватную предшествующей. веднаш по погубувањето култот се проширува на југ до Кукуш и Солун. составляющие основу повседневной жизни либо выбивающиеся из нее и способные привлечь к себе повышенное внимание. маченици. култот е повисок. и на север. но целых регионов и в потенциале – всего человечества). Набирает силу и противоположный процесс консервации артефактов культурной памяти. Как правило. со пренесувањето на моштите во Брегалничката епископија. стереотипизация (соотнесение полученного образа с уже имеющимися представлениями и ожиданиями со стороны других стран и народов) и архивация (создание цифрового видеоархива «коллективной памяти» не только отдельных стран. а затем разместить в сети). С одной стороны. чем. Потоа следува Житието од Теофилакт. стереотипы. Мы сожалеем и приветствуем это. За переоценкой ценностей угадываются новейшие идеологические явления информационной и политической глобализации культурного пространства. ја носи оваа реликвија во Солун и ја подарува на храмот посветен на маченицата Анастасија. Таков е примерот со св. что фиксируется с помощью медиа и попадает в публичное пространство. возможно. но и од усни преданија. а првата позната творба посветена на нив ја напишал св. как идентификация (формирование национальной идентичности. За отстаиванием неизменности ценностей прошедших эпох различается неискоренимое желание человека в динамично меняющемся мире остаться адекватным самому себе. мы стали свидетелями и участниками частичной утраты подлинности культурной памяти. во 10 век. 15 Тивериополски свештеномаченици Колку одиме поназад во историјата. Наконец. но до денес со сигурност не е утврдена нејзината локација. видеоархив Сидоров Виктор: Санкт-Петербургский государственный университет Ценности культурной памяти: медийная проекция И в наше время культурная память созидает человека. ИМЛ Култот и чудата на св. За разлика од тоа. которую заинтересовал данный ролик. Авторы проекта использовали наиболее популярные ролики хостинга YouTube для создания двухминутных видеоклипов. а также стадия «включения». Белорусский государственный университет Архив стереотипов В Интернете набирает все большую популярность проект «The World in 2 Minutes». При этом важную роль играет момент «опознания» (взгляд на происходящее со стороны тех. когда наиболее популярные видео монтируются сотрудниками испанской компании для создания определенного имиджа конкретной страны. туку и од верници и од околните градови и земји. Охридски архиепископ. С другой – понимаем. идентичность. имиджа конкретных стран и этносов). како што соопштува Теофилакт. фаза «принятия» со стороны интернет-аудитории. Мексика и пр. который был разработан и запущен в прошлом году сотрудниками одной испанский компании. кухни и т. Россия. легендите и преданијата за религиозните настани и личности се помногубројни и пофантастични. что на наших глазах возникают условия для формирования новой целостности культурного ядра человеческой памяти. В каналах массовой коммуникации культурное прошлое подвергается селекции и трансформации. что в неизменном облике приходит из глубины веков. специализирующейся на создании «вирусного» медиа-контента. 15. более – к заново сконструированной или тщательно отредактированной. объясняется ренессанс религиозного сознания и . кто посчитал необходимым снять все на камеру или телефон. Клучни зборови: Св. сопровождающая ролик. выполняющие функции социокультурных маркеров идентичности – музыка. ибо знаем. Индия. которые удалось зафиксировать на видео и сохранить в архивах культуры. Бразилия. чуда. но и закрепить уже имеющиеся стереотипы о ней или даже сформировать новые. Франция. Климент Охридски. Нивниот култ многу рано ги надминува границите на Струмица каде што храмот посветен на овие страдалници за верата е секојдневно посетуван не само од струмичани. Ама локалниот култ знае да биде посилен од вселенското славење. Најрано.п.97 Сарајлија Никола. что исторически сложившееся ядро культуры консервирует в себе как ценностно позитивные. В итоге в данном проекте реализуются такие стратегии. Колку подлабоко слегуваме во темнината на вековите. исцелители од христијанската историја од кои некои имаат универзално. Также здесь представлены наиболее значимые исторические события. архиепископ Охридски и врз основа на него Канонот напишан од Константин Кавасила.

когда жизненный путь личности интерпретируется в историческом и культурном контексте. особено во моделот на Џон Рајли. форма коллективного существования. едно време е посредувано од идеолошко. масовните медиуми ги определува како еден општествен потсистем што е функционално поврзан со другите системи во општеството од што произлегува нивната меѓусебна условеност и причинско-последична поврзаност со политиката. открытое для осмысления. например. во-вторых. наступила массовизация медиа. разобраться в медийных трансформациях культурной памяти. Мицкевич в Польше считается польским поэтом. (особо значимая при скудности фактического материала). памятных досок. в Литве и Беларуси также национальный поэт). в-третьих. «подчиняющийся сложным законам общего культурного движения» (Ю. Масовизацијата на публиката не може едноставно и само по себе да се подразбере како демократизација на културата разбрана во нејзината најширока смисла или само затоа што не е висока.98 активизации социальной функции церкви. колективни мемории. Каррер «Лимонов». важную для национальной идентичности. собственно медиа. которая в своем развитии формирует действительность медийную. Философы и литераторы столетие за столетием расколдовывали наш мир. глобализация. в рамках которой осуществляется национальная идентичность. Общая память рассматривается нами как единое адресное пространство со своими механизмами отбора и сохранения информации. трансляции. еден простор. Процесс создания интеллектуальной биографии можно назвать биографической герменевтикой. написанных иностранцами (Э. предполагающая слияние всех культур в одну. потому что само культурное пространство этого мира радикально преобразилось под влиянием новейших технологий. Рейфилд «Жизнь Антона Чехова»). особено на ТВ и Интернетот. економијата. массовизация. Функциите на артикулирање на мислењето само по себе го проблематизираат создавањето на креативна промислечка јавност. делиться информацией. вступать в диалог. Токму медиумската реалност. социокультурный анализ. как новый текст о культуре прошлого задействует актуализированную память. внутреннего мира. европеизација. культурную память как предмет медийного конструирования. melting pot). културни идентификатори.функционален механизам на организирано структуирање и пренесување на пораките во исто време до што е можно најголем број на публиката. која скоро секогаш и исклучиво е создадена преку селекција на факти и вредности во однос на публиката и факторот време. медиа. – принадлежности известной личности к культуре определенной этнической группы (А. сохранять культурную идентификацию. Интеллектуальная биография рождается из взаимодействия разных видов культурной памяти: коллективной и индивидуальной. информационное пространство. Силјановска Лилјана: Универзитет ЈИЕ. как вид «мягкой» памяти переходит в формы «твердой» в виде памятников. информационной и творческой. но во исто време сценското поставување на медиумскиот производ наметнат од пазарната логика на понудата и побарувачката. биографическая герменевтика. социальную действительность. Пространство культуры. ги брише границите на различноста. образованието. Клучни зборови: средства за масовна комуникација. предполагающая биографический. общая память. Чтобы расколдовать мир заново. дешифровка которых помогает увидеть и понять социокультурное пространство той или иной эпохи. Ключевые слова: интеллектуальная биография. совместно используемое в процессе создания новых культурных кодов. производить новые знания. Таким образом. а интеллектуальная биография как форма передачи культурных смыслов разных эпох. граѓанско општество. нужны иные. И вот он снова заколдован «усилиями» массмедиа и «массовой культуры». представленный вариантными истолкованиями. В новое состояние медийной сферы надо входить с новым исследовательским инструментом. доказательством чему. Ключевые слова: ценностный анализ. креативна јавност. подходы. медиумски обликуваните содржини во различните масовни медиуми. позволяющая находиться в одном пространстве людям с разными культурами. ядро культуры. служит мировое признание биографий о русских деятелях. Современная политика мультикультурализма и концепция «плавильного котла» (англ. ги преструктуира модалитетите на културните идентификатори и ги релативизира димензиите на културниот идентитет преку унификација на вредностите трансформирани во надминати или современи колективни мемории и концепти. «в пределах которого некоторые общие тексты могут сохраняться и быть актуализированы». ја проблематизира во исто време и индивидуалната и колективната меморија. елитна култура. претставувањето на индивидуите. и наоборот. вредностите и нормите на една култура. общая память выступает как единое пространство. национальная идентичность . Существование в пространстве общей памяти определяет проблему. Лотман). чем прежде. существует в пространстве общей памяти. американизација. Понять мир заново означает понять происходящее в медийной сфере. обусловливают актуальность этой проблематики. зашто наметнувањето на теми. Д. наменета за одреден број корисници. история самосотворения. во-первых. форма культурной памяти. текстуальный. Биография понимается как некий общий текст. Аксиологический анализ медиа соответствует реалиям наступившего века и позволяет эффективно изучать. социјализацијата и културата. согласно Лотману. Во ерата на постмодернизмот и глобализацијата на општествата. В фокусе исследования интеллектуальной биографии оказывается реконструкция жизни личности. создания новых текстов. како што се –балканизација. и механизм хранения. демократизација. го поттикнуваат културниот развој и плурализмот на идеи во меѓукултурната комуникација. Тетово Масовните медиуми и културната меморија :идеологизација на вредностите Теоретскиот пристап во дефинирањето на средствата за масовна комуникација изразена во функционалистичката теорија. Соколова Ольга Михайловна: Белорусский государственный университет культуры и искусств Интеллектуальная биография в культурном пространстве общей памяти В современном мире прослеживается тенденция особого интереса к биографии как форме культурных кодов. музеев.

теророт и траумите од нив. Станицата Викторија (1982). традицијата. Тишина ( 1969). сеќавање.Токму во „драми на сеќавањата“ меѓу кои се вбројуваат: Пејзаж ( 1968). како преку толкувањето на наративите од минатото се појаснуваат одредени процеси во сегашноста. начинот на живеење. кои биле дел од еден народ чие право и идентитет постојано бил оспоруван. „драми на сеќавањата“ и „политички драми“. Клучни зборови: културно паметење. Пинтер Стефановски Драган. култура Стојановић Марко. сведоштва за преминот меѓу два века. но пред се конструирањето на идентитетот. које је донео социјалистички друштвени систем у Југославији. сигурноста и моќта (Cahn. насилството.99 Стамески Трајче: Филолошки факултет „Блаже Конески“ . Стари времиња (1971). Во него се одвива општествената еволуција. границите.Современиот град е мултикултурен и мултиетнички во кој егзистираат повеќе етнички групи со свои карактеристични културни модели. отпорот и др. книгата Темни кажувања (публикувана врз основа на материјалите снимени на магнетофон)за една генерација реномирани македонски писатели (Славко Јаневски. Пејзаж сеќавањата не се мешаат. кажувањата на овие личности се спомен. мултиетнички . како и простор во кој се одвива целокупниот општествен развој. Скопје е пример за современ град во кој можеме да забележиме присуство на припадници на поголем број на етнички и конфесионални групи. како и прашањето на интердисциплинарните врски со погореспоменатите дела. наместо тоа тие се судираат. Неверство (1978). Тие воедно мошне суптилно ги нагласуваат и аспектите на родот. Влада Урошевиќ. креирајќи психолошки натпревар во кој главните столбови се идентитетот. Станува збор за приказни. Семејни гласови ( 1981). општественоисториските настани се претставени од перспектива на обични. која повеќе или помалку влијаела и на нивното подоцнежно творештво. Текстот поаѓа од врските на културното паметење и идентитетот.) претставувала неопходна литература. насилството. Според тоа. вашар кроз који данас прође око сто хиљада људи не налази у званичној туристичкој понуди Шапца. Мето Јовановски. Живко Чинго и др. Темни кажувања се наративи за колективната и индивидуалната меморија во процесите на формирањето на националните. промене у системима вредности. Креирајќи мозаик од вредности во кои се инволвирани глобалните процеси го отсликуваат урбаниот начин на живот. Клучни зборови: глобализација. мултикултурен. Интенцијата на овој реферат е да покаже како овие записи. како и романот Невестата на змејот на Влада Урошевиќ. 2001: 4). ЦККС Културната меморија и идентитетот во драмите на Харолд Пинтер Драмските текстови на Харолд Пинтер. довеле су до тога да вашар постане и културно огледало на основу кога је могуће пратити релације између пројектованог/пожељног и реалног идентитета. или системски опстале и до данас. како наративната трансмисија влијае на автентичноста на искажаното. потсетник за едни бурни историски околности. Пепел на пепелта ( 1996) и Прослава (2000) се разоткриваат семејната меморија. Међутим. Чињеница да се. Моќта е во оној кој ќе ја разграничи вистината од илузијата. на једној страни. . Месечина (1993). Институт за социологија при Филозофскиот факултет на Универзитетот „Св. регионалните и културните идентитети. Централните теми во овие текстови се: колективната меморија. род. Креативната драматургија на Пинтер е уште еден доказ дека моќта е во оној кој господари со минатото. како наративи од минатото влијаат при детерминирањето на личните и општествените идентитети. Кирил и Методиј“ Мултикултурниот град во ерата на глобализацијата Креирањето на ставот за урбаниот простор во ерата на глобализацијата се добива преку анализа на повеќе фактори. Етнографски музеј у Београду Шабачки вашар (вашар у Шапцу) . Ничија земја (1975).Скопје Темни кажувања: од колективната меморија до индивидуалниот глас Во духот на Цепенковата раскажувачка традиција. урбан простор.симбол идентитета и културно огледало Непрекинутим трајањем дужим од једног века Шабачки вашар (вашар у Шапцу) је утемељен као један од несумњивих симбола идентитета града. тој е местото во кое се креира современата урбана култура. жанровски на граница меѓу усната и белетристичката проза. односно за културното паметење како политика ( Клутенберг. тие се врски. тие се добра основа. Автентично пренесени. кој е несомнено еден од најзначајните претставници на британската современа драма. политика. Трудот има за своја цел да ја долови реалната слика за меѓуетничките и меѓукултурните релации и односи во градот Скопје во ерата на глобализација. Во драмските текстови Стари времиња. Тишина. каде преку индивидуалните судбини се согледуваат општествено-историските и културните констелации на овие простори. Сеќавањата се секогаш бојно поле околу кое што се води битката за моќ. анонимни луѓе. можат да бидат категоризирани вo три типа: „комедија на закани“ (кои ги содржат во себе и одредени одлики на „театарот на апсурдот“). сеќавањето од фантазијата. Ова е доволна база за разни интертекстуални и интердисциплинарни релации со овие текстови. Клучни зборови: Стефанова Нина. миграцијата. домот. кажувања базирани на сеќавањата на деветте раскажувачи. 1998: 90). поточно со сеќавањата врзани за него. дали поради фактот сведоштво овие текстови можат да се перципираат како историографски или како белетризирани. а потом су инерцијом. Еден вид Алјаска ( 1982). При анализата на совремниот урбан простор се забележуваат низа на каракеристики. како што се примерите со: филмот Најдолгиот пат на Бранко Гапо. кои се навраќаат кон својата младост.

кога во себе има транснационални. во прв ред национализмот. политички партии. има потреба са соодветен супституент. На другој страни. но и со културните маркери на групите. Притоа се тргнува од претпоставката дека политичката мобилизација и нејзините конкретни форми се во основите на модерниот концепт на нацијата. сукцесивно. сакав да се фокусирам на еден специфичен начин на истражување на проблематиката. века паралелно установљена Шабачка чивијада као „исправна“ културна манифестација са пратећим књижевним вечерима. Ананиев Јован: Правен факултет. општа/официјална историја/меморија. Поточно. Реконструкцијата на претставата е доминантен метод за анализа на една претстава. а напослетку и чињеницом да ту заиста светски познату манифестацију никада није посетио Тито. конзервирана и/или презервирана на еден. што може да биде шанса за долговечност на културната различност. Клучни зборови: политичка мобилизација. Колективната меморија ги содржи овие лични и колективни елементи . национализам. као и колоквијални. театролошки. дигитализира. За таа цел ќе биде изработена посебна презентација која ќе ги прикаже сите начини на кои може една претстава да се зачува. Секоја цивилизација има свој систем организиран околу одделни концепти на личниот и колективниот идентитет кои ја карактеризираат. снимање и внесување на податоци – со пренесување на лично искуство од работата на Театролошката дата база на Институтот за театрологија при Факултетот за драмски уметности – Скопје.Штип. међу бројним друштвеним групама прихваћени став да седамдесетих и осамдесетих година 20. Универзитет „Гоце Делчев“. Рефератот и излагањето се користат со поголем број на фотографски и видео материјал кој ќе бидат имплементирани за полесно презентирање на тврдењата од насловот. лична/интимна вс. Сепак овие претпоставки не упатуваат на заклучокот дека ваквите фактори се единствен извор на мобилизација и се остава простор за социјалниот статус. Кључне речи: Стојановски Страшко.држава и суверенитетот. Личните сеќавања за истата претстава. Клучни зборови: театарска претстава. а основното врзивно средство се бара во конкретните идеологии.н. Обезбедувањето на помасовна мобилизација најчесто се врзува подеднакво и со националните симболи. Факултет за драмски уметности . етички импулси и не буди негативни конотациии. но и на факторите на синтеза на културата. За таа цел. Театрологијата овој проблем го надминува користејќи алатки од неколку сродни научни дисциплини. Во овој труд се прави обид да се синтетизира теоретската рамка со емпириските факти. како рационален систем. Особено во моменти на криза или клучни политички настани. Теоријата се однесува подеднакво на политичките теории. посредни и непосредни извори. конзервира и истата меморира како недвижно културно наследство според главните принципи за зачувување на културното наследство зададени од УНЕСКО. Дури и поставеноста на политичките партии во голема мера се темели на овие фактори. самопрепознавајући да „сваки поштени Шапчанин обавезно одлази са породицом на вашар“ говори у прилог томе да је Шабачки вашар недвојбени. начин на селекција и презентација.Скопје Културната меморија како колективна категорија во книжевната креативност Феноменот културна „глобализација“. дотогаш модерното општество. изложбама карикатуре и другим садржајима. Македонија Културниот трансфер како основа за политичка мобилизација: Теоретски претпоставки за релациите помеѓу културата. студијата/рефератот е конципиран во неколку делови. култура Стојаноска Ана. дигитализација. века „нико није могао да постане звезда новокомпоноване народне музике (једног од најоспораванијих и највиталнијих културних феномена бивше СФРЈ) ако није певао на шабачком вашару“. Тодорова Лилјана: Универзитет „Св. да је шездесетих година 20. идеологија. Науката како главен чувар на театарската меморија и адекватната помош од приватната театарска меморија. мојот текст е фокусиран на откривањето на сите страни на театарската меморија. политичката ориентација или харизматските потенцијали на лидерот да бидат подеднакво важни. етницитетот и национализмот. но и од моето лично искуство. етничката припадност и национализмот Факторите на генерирање предуслови за политичка мобилизација зависат од конкретните услови во кои истата се одвива.Скопје Сите страни на театарската меморија – обид за зачувување на театарската претстава Театарот е место на меморија. уникатен и специјален начин. се соочува со опција за респектирање на културните идентитети. прокламованим друштвеноидеолошким ставовима умањује или негира значај вашара. но и на кој начин актуелната наука ја памети претставата. со посебен осврт на македонското општество. Емпириската поткрепа ќе се бара во рамките на современите политички контексти. Театарската претстава и нејзиното зачувувување – преглед на извори и дефинирање на методот на реконструкција. на кој начин секој од нас памети една претстава. со дигитализацијата на повеќето театарски претстави и работата на првата театролошка дата база на овие простори. посредни и непосредни извори. културни и национални сентименти на различните групи. Доколку во рамките на империјалниот модел масовната мобилизација се врзува за религијата и традиционалната улога на монархиите.100 потом. говори о томе да се. Кирил и Методиј“. Театарската претстава е во постојана потреба да остане запаметена поради нејзината краткотрајност и неможноста истата да остане меморирана. создавајќи слика на етнички предопледелени политички субјекти. театролошка дата – база. но и создавајќи свои со користење на т. Дигитализирање на претставата. Имајќи го сето ова предвид. политичката мобилизација многу често се врзува со конкретните етнички. реални симбол идентитета Шапчана.

Предмет на истражување во овој труд е аспектот на идентитетската база на културната меморија што се рефлектира како колективна категорија во книжевното творештво на два културни системи со ралични традиции: балканските литератури. Многие русские поэтессы 1790-х годов подражали идил- . Работена според истоимениот роман на Ванчо Николески. Кинотеатар „Звучни слики“ (Не)дигитализираната меморија на класичниот ТВ-екран (низ носталгијата на играната серија „Волшебното самарче“) Во седумдесеттите години од минатиот век. воопшто. публиковавшиеся в русских журналах. колективен идентитет. Ексцерпцијата е извршена од богатиот корпус на ракописи од проектот Речник на црковнословенскиот јазик од македонска редакција што содржи 29 репрезентативни црковнословенски текстови со различна жанровска припадност. Тредиаковский. културолошки. културна различност. а затем в 1790-е годы. плуралитет на култури и литератури. 1975) е сведоштво за антологиско транспонирање на прозна материја низ јазикот на класичната телевизија.К. претставуваат и неодминлив показател за битот и карактерот на материјалната и националната култура.К. вспоминает о «нежной» Дезульер. несомнено. повествуя о посещении парижских достопримечательностей.„Волшебното самарче“. Другой выдающийся русский литератор эпохи Просвещения. во режија на Ацо Алексов. Досегашните проучувања на црковнословенската лексика укажуваат дека лексичко-семантичко поле воена лексика содржи голем број стари словенски лексеми кои припаѓаат на битовата лексика. заедно со колективната свест што допира до традициите. дигитална меморија. переводчик и теоретик литературы первой половины XVIII века. Од тој период датира и играната серија за млади и возрасни во 10 епизоди . Трајкова Катица: ИМЈ „Крсте Мисирков“.П. од друга. Русские писательницы последних десятилетий XVIII века стали воспринимать творчество графини де ла Сюз и Антуанетты Дезульер как примеры для подражания. Тредиаковского.И. Он считал ее сочинения образцовыми в жанре элегии. хронолошки датирани од 12 до 16 век. с известной регулярностью. во добата кога беше доминантно присутна експанзијата на класичниот телевизиски медиум. според книжевни адаптации или како екранизација на прозни дела. графиню де ла Сюз упоминает княжна Урусова в обращении к Музам в сочинении «Ироиды Музам посвященныя» 1777 года. балкански литератури. Антуанетты Дезульер. рекреативнозабавни емисии и културно-уметничка програма. Во третата група. аудиовизуелни медиуми Трофимова Виолетта: Санкт-Петербургский государственный университет Роль французских поэтесс XVII века в становлении традиции женской литературы в России В России XVIII века едва ли не самыми популярными французскими поэтессами были Генриетта де ла Сюз и Антуанетта Дезульер. И двата одделни книжевни/културни системи судбински се меѓу себе поврзани по многу основи : географски. од една страна и африканските франкофонски литератури. Восприятие творчества другой француженки. африкански франкофонски литератури. на этот раз. Н.М. снимена на 16-милиметарска лента.101 во форма на категории. шло через переводы. Новиков включает в «Словарь» статьи о девяти российских писательницах и называет поэтессу Елизавету Васильевну Хераскову «российской де ла Сюзой». Скопје Ретките лексеми од тематското поле „воена лексика“ во македонските црковнословенски ракописи Црковнословенските текстови од македонска редакција не само што претставуваат неизбежен извор за проучување на историјата на македонскиот јазик туку. оваа филмска фикциона серија во производство на МТВ (ТВ Скопје. значајно место заземаше и снимањето на ТВ драми. Во овој прилог акцентот е ставен врз одреден број лексички единици што лексикографски се фиксирани само во одреден жанр црковнословенски ракописи или пак претставуваат ретки лексеми заради ограничената фреквенција. Талантом де ла Сюз восхищался еще В. Сумароков разделял мнение В. Врз основа на парадигматични примери од автори што произлегуваат од овој плуралитет на литератури и култури на народи различни во однос на колективната имагинација и. екранизација. цивилизации. наследени или архетипски. како и одреден број лексеми кои имаат книжовен карактер. начиная с 1758 года. в качестве примера для российских поэтесс. неоднократно переводившиеся на русский язык сначала в 1770-е годы. Клучни зборови: културна меморија. историски. Наряду со швейцарским поэтом Геснером Антуанетта Дезульер считалась образцовым автором идиллий для русского читателя XVIII века. кај нас беа евидентни три вида домашна ТВ продукција: дневно-политички журнали. А.според формулата на Ив Шеврел (Ives Chevrel). врз искуството на класичниот екран? Колкава е вредноста на успешно дигитализиран аудиовизуелен продукт базиран врз класични постулати? Клучни зборови: ТВ носталгија. За жал. литература/филм.И. Особой популярностью пользовались ее идиллии «Овечки» и «Ручей». Новикова снова упоминает графиню де ла Сюз. поэт. В 1772 году Иван Рудаков в «Стихах к «Опыту исторического словаря о Российских писателях»» Н. Так. се покажува дека поимот културна меморија има капитална улога во литературната анализа како фундаментален фактор во креативниот акт. јазично вклопувајќи се во Xфонски (X-phones) простори . Кои се предностите на создавање траен современ дигитален формат? Кои се релациите и можностите што ги создава филмот наспроти литературата. Сам Н. ТВ серии и ТВ филмови по оригинални сценарија. Карамзин в «Письмах русского путешественника». Клучни зборови: Тренчовски Горан. дигитална копија на оваа серија се уште не е направена. колективна меморија.

он в большей степени способствует забыванию. Сите издадени публикации како културни продукти на едно опшество влијаат врз културата односно ја креираат културната меморија. Книга вызвала большой резонанс и сделала ее автора знаменитой. Обширное эссе о Марии Аньези может с полным правом считаться ее первой русскоязычной биографией.Лоуэнталя. прошлое. но единствено на нумеричко ниво (бројот на издадени наслови) но не и квантитативно ниво (вкупен број на испечатени примероци). Во время своего пребывания в Италии Никитенко работала в архивах Болонского университета. С. Благодаря. была подругой и корреспонденткой писателя И. Троян Сергей Станиславович: кафедра внешней политики и дипломатии Дипломатической академии Украины при Министерстве иностранных дел Украины Культурная память и политическое воображение: эффект «дереализации» Введение проблемы соотношения памяти и воображения в социальный контекст преломляется в фокусе политического воображения и культурной памяти. Италия. Ключевые слова: математика. в конечном итоге. а со тоа и културната меморија.А. 2004. Ключевые слова: литературная традиция. Особено значаен аспект за анализа се двата клучни сегменти од издаваштвото во . Гончарова. Такими примерами включенности воображения в память могут быть вымышленные истории и имена. 6). В переводной книге Гюдри-Мено «Женщина» 1903 года. чем когдалибо прежде» (Лоуэнталь Д. Очень высоко оценила учебник Аньези и Французская академия наук. Отсюда. Софья Александровна Никитенко. Некрасов сравнивает Ковалевскую с Аньези. а в орудие пропагандистского и идеологического воздействия как на отдельные личности. цензора. во-вторых. русское Просвещение. в которой он также упоминает Аньези в числе женщин-профессоров Болонского университета. Заслуги Аньези были признаны императрицей Марией Терезией и папой Бенедиктом XIV. Никитенко «Женщины-профессора Болонского университета» в журнале «Русская мысль» за 1883 год. посвященных памяти С. Генриетта де ла Сюз и Антуанетта Дезульер стали ориентирами для формирования традиции женской поэзии в России.М. 2007. Здесь он приводит к конструированию политического воображения (системы воображаемых представлений о политической жизни) и к проявлению эффекта «дереализации» – общего ослабления чувства реальности. Память в языке и культуре. Упоминает Аньези также и А.А. силе искусства. Издадените публикации опфаќаат широко поле на различни тематски содржини. Благодаря вышеназванным работам Мария Аньези стала примером для русских женщин. но и превращения воображаемых конструктов не просто в «интерпретативные сообщества» (за Стенли Фишем) или «сообщества памяти» (за Питером Берком).е. 236). ведет к стиранию культурной дистанции между прошлым и настоящим. женская литература. В 1891 году в сборнике рефератов Московского математического общества. автор пишет об Аньези как о знатоке иностранных языков и о том. политическое воображение. что Аньези заменяла своего больного отца в Болонском университете.Г. занимавшихся математикой. Трофимова Татьяна: Санкт-Петербургский государственный университет технологии и дизайна Восприятие итальянского математика XVIII века Марии Аньези в русской дореволюционной печати В 1748 году в Италии был опубликован учебник по математике «Основы анализа» Марии Аньези. они становятся частью жизни обычных людей. Автор также упоминает. Это значит. Влијанието на јазикот и содржината на текстовите кои се издаваат во Република Македонија особено влијае во создавањето на културата. пренесени на различни јазични нивоа и со свое влијание врз нивото на развојот на културата и културната свест во Република Македонија. де ла Сюз. дочь профессора русской словесности. В 1914 году вышла книга В. по меткому выражению Д. При этом. доктора римского права.102 лиям Дезульер. Он назвал Аньези одной из звезд математических знаний. так и коллективы людей. Ковалевской. чем воспоминанию. М. культурная память. прежде всего. Таким образом. русский математик и философ П.А. Аньези была единогласно избрана в члены Болонской академии наук и была назначена заведующей кафедрой математики в Болонском университете. учебник. в случае демонизации политического воображения срабатывает не только эффект «дереализации». Более того. Аньези как выдающийся математик упоминается многими западными авторами XIX века.. Говоров в своей книге «Женский вопрос в связи с историческими судьбами женщин» 1907 года. «дереализации» эффект Туџаровска-Ќупева Билјана Обликување на културната меморија преку издавањето на публикации во Република Македонија Обликувањето на културната меморија претставува процес кој се наоѓа во постојано динамично движење и менување. эффект «дереализации» культурной памяти имеет следствием создание парадоксальной ситуации: во-первых. С. становясь все более чужим. Россия. Дезульер. академика Александра Васильевича Никитенко. которых в реальности нет» (Брагина Н. Прошлое – чужая страна.В. т.В. Издавањето на печатени публикации во последниве години зазема голем подем во издаваштвото во Република Македонија. что воображение берет на себя функции памяти. СПб. Мария Аньези. что Французская Академия назвала ее сочинение по математическому анализу самым полным и лучшим по этому предмету. Одно из первых упоминаний в российской печати об Аньези мы находим в статье С. Он приводит слова историка математики Монтюкла о Марии Аньези. Хвостова. вменяя людям прежних эпох мотивы и цели современности. Ключевые слова: память. оно «способно реконструировать некое подобие существования тех вещей.. ее слава докатилась и до России. «прошлое отстраняется.

что символ предстает особым надиндивидуальным образованием в ее сложном механизме. готика (1). односно преводи на книги од странски автори. в передаче и закреплении социально значимой информации предстает ключевым звеном. култура Фролова. По условиям эксперимента респондентам предлагалось ответить на несколько вопросов: 1) В каких европейских странах Вы побывали. непроизвольная культурная память. јазик. . Јазичното ниво би ги опфатило квалитетот на преводот. автор. чума (1). словосочетанием ассоциируется у Вас Европа? В опросе приняли участие 100 респондентов — студентов МГУ и МИЛ. Обоснование культурообразующего значения символов затрагивает большой комплекс вопросов. Исследовательское поле вопроса о культурной памяти в символическом аспекте связано. Санкт-Петербург. А. В исторический блок вошли следующие реакции. Возрождение (1).Н. множество культур и языков. Форма проведения — письменная. Кассирером. Базовыми в данном контексте являются положения. Значимость символов определяется их способностью включать человека в ценностное пространство своей культуры. архитектура (6). с осмыслением роли символов в механизме трансляции культурных смыслов. Леонардо да Винчи (1). функционирование которых. додека на содржинското ниво се анализираат пораките кои се пренесуваат со текстовите и кои влијаат врз создавањето на културната меморија Клучни зборови: културна меморија. готика (1). Мулен руж (1). включены нами в оба блока. Культурный блок составили следующие единицы: культура (17). обеспечивается культурным кодом. Латинский квартал (1). издаваштво. рыцарь (1). Возрождение (1). наполеоновские завоевания (1). Лосевым. Проблематика роли символов в современной российской культуре. встретившиеся в ответе одного респондента. церкви/ собор (2). Шпенглер (1). как извлекается из индивидуального сознания информация о культуре в условиях ассоциативного эксперимента. Шпенглером.: Филологический факультет МГУ Непроизвольная культурная память Наша цель — показать. музыка (2). Применение символического анализа представляется эффективным в контексте понимания социокультурной реальности как пространства постоянного присутствия означаемого и означающего. Собор Святого Петра (1). Уайтхедом. преку пишаниот збор отвораат нови прозори кон иднината. Во трудот ќе се анализира: Издавањето на книги од македонски автори кои најчесто се насочени кон изнесување на историски факти од минатото. обеспечивая воспроизводство и присвоение культурных ценностей. Ключевые слова: Европа. ассоциативный эксперимент. текст. являющийся автором этих строк. смысловое поле символа.103 Република Македонија кои не само што влијаат врз културната меморија. а може да се согледа и актуелното опшествено опкружување но и интересот на авторите кон се соочени со сегашноста. Нотр-Дамм (1). память культуры в ответах респондентов предстала скорее в архитектурноживописно-кинематографическом виде. Леви-Строссом. код культуры. А. осуществляют функцию механизмов ее единства и несут память о культурном контексте. Колизей (1). «Закат Европы» (3). «окно в Европу» (1). как смысловой феномен. Участвуя в процессах трансляции культурных смыслов. Просматривается и когнитивная перспектива такого подхода. С опорой на положение Ю. 2) С каким понятием. О. Венеция (1). Овој труд ќе понуди и краток осврт и на издавањето на книги од странски автори кои може да се анализираат на две нивоа – јазично и содржинско. Венеция (1). Столетняя война (1). выработанные Э. туку дополнително влијаат и врз издавањето на книги. скрытый за номинацией окно в Европу и Пушкин. «Похищение Европы» (1). Курский государственный университет Символическая составляющая культурной памяти Один из подходов исследования культурной памяти связан с ее изучением в символическом аспекте. Реакции Рим. Лотмана о том. литература (1). Связующим звеном между Европой и Россией послужила фигура Петра I. предлагается понимание символа как средства бытия культурной памяти. Возраст участников 17-22 года. Символический универсум каждой историко-культурной общности содержит исключительно ему присущие символы. Петр I (3). великолепные архитектурные достопримечательности (1). диалог. Главным стимулом являлся топоним Европа. крестоносцы (1). Эксперимент проводился осенью 2012 г. имаат директно влијание врз културната меморија. О. Ответы респондентов выявили два блока: исторический и культурный. Издавањето пак на публикации кои нудат толкување или посебни погледи кон минатото согледано од страна на авторот. Издавањето на публикации од македонски автори преку кои се отсликува актуелното опшествено живеење (преку анализа на темите опфатени во публикациите). поскольку символ. тамплиеры (1). В целом. прежде всего. словом. превод.Ф. интеграция России и Европы Царева Елена Алексеевна. в этих процессах смысловое поле символа представляется неоднородным. кино/ кинематограф (2). Несмотря на различие исходных теоретических установок. построения философов объединяет общая точка зрения. Символическое единство среды играет ключевую роль в процессах индивидуальной и коллективной идентификации. выражающаяся в понимании символа как культурообразующего феномена. Осмысление феномена культурной памяти в символическом аспекте актуализирует проблему не столько нашего отношения к прошлому. сколько его интерпретации и понимания и показывает. Рим (1). К. затруднен их семантический анализ.М. феодальная раздробленность (1). односно нивото на македонскиот јазик кој се користи во предводот на овие дела. которые мы приводим с указанием количества ответов в скобках: фашизм (1). средневековье (3). Рим (1). искусство (2). знаково-символический опыт. Венеция. Возрождение. символы играют особую роль в диалоге прошлого и настоящего. т. «Смерть в Венеции» (1). односно издавање на книги од македонски автори. Ключевые слова: символ. најчесто се користат во пропагандни цели односно креирање на одредена слика за одреден историски лик или настан. поткрепени со нови научни истражувања. Е.к. что символы пронизывают диахронию культуры. связанных с особой их ролью в коммуникационном диалоге прошлого и настоящего. объединенных под единым началом (1). Италия (1). девальвация символического в западной культуре нацеливает на обращение к трактовке символов в постмодернистском теоретизировании. нежели в литературном.

кои. документи и информации кои се важни од гледна точка на континуитет на институцијата во нејзиното понатамошно работење. богомили. култура. односно колку актуелните веб страници на министерствата во Република Македонија. но истовремено ги поставиле и основите за сите идни промени. сигурни и едноставни за употреба. Прашањето што се поставува и што е предмет на овој труд е институционалната веб меморија. пак. режија: В. Џамтоска-Здравковска. пак. Штип Институционална веб меморија Една од карактеристиките на државните институции е институционалната меморија која се базира врз складирање и чување на податоци. која овозможува граѓаните да имаат пристап до дигиталната презервација на факти. по многу размислување и дискусија. Дали веб страниците на министерствата содржат податоци со кои ја негуваат институционалната меморија и со тоа ја негуваат политиката на помнење или. во што се вклучени повеќе научно-истражувачки методи: митокритика. Исток-Запад . веб меморија. во долгометражните играни филмови „Јад“ и „Тајната книга“. институционализираното памeтење на организацијата е составен дел на секоја интраорганизациска комуникациска мрежа и се состои од водење различни евиденции за податоци и информации. кои треба да бидат целосни. сценарио: Љ.за активностите. но и од друго време. кој. знаења. Клучни зборови: институционална меморија. Леополд Вајс алијас Мухамед Асад претставува толку богата работа што заслужува да биде темелно проучуван. во одредени периоди биле/се санкционирани / фаворизирани. искуства и знаења). документите кои биле донесени и важеле во одредено време. додека „Тајната книга“ (2006. Клучни зборови: миграции. ја одразуваат меморијата на институцијата. нејзина поголема транспарентност и достапност до граѓаните. Цветановски и Ј. одразена преку веб страниците. Резултатите се во насока на давање придонес за зајакнување на дигиталната компонента на институционалната меморија. компаративно читање на филмските наративи. меморија. дали и колку официјалните интернет сајтови на државните институции содржат податоци за минатото на институцијата . Ценевски). Универзитет “Гоце Делчев”. постои политика на заборавање. и во пропагандни цели. византиската епоха. со игнорирање на сè што било претходно? Трудот има за цел да даде одговор на овие прашања преку истражување во кое се опфаќаат 15 министерства во Република Македонија. од научните/историографските/уметничките/политичките авторитети во современата македонска држава. Текстот истовремено ја одредува и поврзаноста на филмската приказна со конкретни историски настани и специфичната интерпретација на истите во споменатите филмски текстови на културата. Оттаму. наратологија. Државен Универзитет во Тетово Повеќекратниот мигрант Мухамед Асад Овој труд има за цел да се фокусира и да ги идентификува „миграцијиите“ на Леополд Вајс алијас Мухамед Асад според неговото најпознато дело Патот кон Мека. Вајс е доведен до постојано продлабочување на неговиот ангажман со самото разбирање на истокот. Клучни зборови: Среден век. а преку гледната точна на главниот протагонист дава интересна перцепција на македонскиот Среден век погледнат однадвор. од денешна перспектива. претставуваат одраз на актуелните настани и активности? Дали на веб страниците на државните институции може да го “прочитаме” минатото на институцијата? Дали постои политика на транспарентност. филозофските и психолошки ставови преку универзитетот како искуство. од страна на Другиот. Плевнеш. православие. Сузана: Правен факултет. како оформени верски и културни идентитети. се разгледуваат општествените околности на нивното настанување и нивната рецепција и место во филмската/културната историја на земјава. историографија. Преку интердискурзивно. како медиум за трансмисија на знаења и искуства. Познавањето на западниот ум по раѓање. Џемаилоски Арбен. Втора миграција на Асад е самото одбивање на германско државјанство по анексијата на Австрија во 1938 година. „Јад“ (1975. од наратолошки аспект. односно начинот на кој во современата македонска кинематографија се перципира оваа епоха. овој текст ги коментира спецификите на нарацијата во двата филма и врши процена колку хронотопот на филмот влијае на филмскиот дускурс. доведе до неговата прва миграција односно конверзија во 1926 година во Берлин. Цветановски).104 Чупоски Атанас. во пост-модернистички манир се допира до епохата. филм. опишат и интерпретираат фактите поврзани со колективната културна меморија на Македонците актуализирани во двата филма. национализам. Во историјата на македонскиот игран филм единствено споменатите филмови се поврзани со средновековниот хронотоп. концепти и искуства од минатото или. постапките. Поточно. измени и активности. податоци. Во воведот е резимиран начинот на кој македонската научна/историографска мисла и уметничката/кинематографска перцепција се соочувале/ат со спротивставените доминантни древни сакрални наративи на епохата: православното христијанско учење и богомилската ерес/движење. се обидува преку реалистична нарација да го актуализира споменатиот период. ориенталните мисли преку патување во арапските и не-арапските земји. НУ Кинотека на Македонија Средновековниот хронотоп во филмовите „Јад“ и „Тајната книга“ Предмет на овој текст е актуализирањето на средновековниот хронотоп. па оттаму. Во понатамошниот тек на текстот двата филма се разгледани од повеќе аспекти. Како дел од колективната меморија (колективен збир на факти. политика на помнење. направен е обид што поисцрпно да се анализираат. Основниот метод во истражувањето е дескриптивна анализа на актуелните веб страниците на министерствата. од историски аспект многу значајна за формирањето на културниот идентитет на нацијата. филмска теорија и историја. сценарио и режија: К.

Географическое мышление в современном литературоведении сфокусировалось. отобранные для сравнительной характеристики. где все является составной частью единого текста. обогащаясь тем самым новой тематикой. Метафора пространства в романе А. Объектом исследования геопоэтических и культурних особенностей франкоязычного художественного текста является. как известно. Современная франкоязычная проза в культурном контексте сосредотачивается на конкретном и настаивает на анализе единичного и личностного. Постмодернизм. роман А. состоящий из рельефных узоров. Выбранный аспект изучения литературы можно считать определенной реакцией на постмодернистскую ситуацию. Макин. сосредоточенных на изучении механизма пространственной организации в словесном тексте (от воспоминаний о конкретных путешествиях до поэтических схем. обращение к отдельным кодам и знаками культуры. на метафоре пространства (географического. рожденных воображением писателя). подчиненными авторской схеме. которые оформились в отдельную методологию геопоэтики. Целая плеяда франкоязычных писателей. готовой к адаптации вследствие непредвиденных изменений. Энциклопедичность этого метода обусловлена желанием воссоздать целостную картину мира. тоже напоминает удивительный ландшафт. Макина «Французское завещание» Теоретическое обоснование и методологическая основа научного сообщения. среди которых и А. франкоязычный роман . историческая память. культурной памяти). пишут в ином стилистическом регистре. прежде всего. Предмет для обсуждения. культурное пространство. гибридност жанровых форм и т. пространство которого прочерчено маршрутами. Она активно принимает в себя представителей других культурних и языковых групп. Макина «Французское завещание» (оригинальный текст на французском языке). свойственными другим культурным цивилизациям. Ключевые слова: геопоэтика. пространственных контуров. Геопоэтика выступает разновидностью литературоведческих исследований. маршрутного плетения. Особое внимание в рассуждении на избранную тему уделяется метафоре пространства. д. в основном. исторического.105 Юрчук Елена: кафедрa теории и истории мировой литературы Киевского национального лингвистического университета Геопоэтика художественного текста. Такая тенденция в развитии науки сопровождалась активным накоплением теоретического материала и критических практик. Ему свойственны многоуровневая организация текста. в результате чего повествование пополняется новими художественными формами и нарративными стратегиями. а также другие произведения автора.

Panels Панели Панели .

Monument Group. Hodgkin. Public Art Projects CHAIR: Dragićević Šešić Milena. Belgrade Milena Dragićević Šešić. myths. Belgrade URBAN DISSONANT MEMORIES (NARRATIVES. during the Second World War it was a concentration camp (first a Judenlager Semlin and then Anhaltslager Semlin). the very different interpretations over the meaning of this site. & J.109 City as a Battlefield of Urban Dissonant Memories: Narratives. sociology of memory. University of Arts. Bhabha) the presentation would try to give some answers why this cultural offer .) or a dialogue? In which ways are dissonant memories activated through heritage? Controversial symbols . officially declared cultural heritage. through the urban project Skopje 2014 and the consequent influx of new symbol bearers in the urban landscape of the city. Multimedia research group. Radstone. Charles Landry. Skopje TITLE: SYMBOL BEARERS AND THEIR UTILIZATION IN CONSTRUCTING SKOPJE’S IDENTITY Inspired by the recent rapid transformation of Skopje. a Holocaust site. etc. How do urban dissonant memories function through Art narratives in contemporary public arts projects? New creations as ideas battleground (Igor Grubić. Taking the Old Fairground as a multilayered symbol bearer and a space of accentuated memory. space and identity. architecture. researcher. Pierre Luigi Sacco) will analyze the way these projects has been carried out. as an abandoned place in the urban city matrix. people. where thousands of people were tortured and killed. culture of memory (Lj. the capital of Macedonia. regarding to the politics of memory. self-employed writer. synthetizing. history. culture of memory (A. University of Arts. cultural manager. Assmann. using multiperspectivistic approach (Kellner) and theoretical categories developed within humanities and social sciences. Rogač). What is the meaning of ceremonies and historical dates for the identity of a city? Cities as spaces of memory „battles“ (Day of the Albanian flag. Connerton. art and culture critic HOW TO BOOST CULTURAL TOURISM AMONG UNSETTLED CONTESTING SENTIMENTS? CASE STUDIES: MUSEUM OF THE VICTIMS OF COMMUNISM AND FORTRESS’ CHURCH-MUSEUM The paper will analyze the cases of two new museums. and on the other hand. Museum of the victims of Communism and Fortress’ Church-Museum. Spivak. Pravo na grad etc. Balkan war Memorials etc. The panel debate is expected to raise the following questions: How cities remember contemporary conflictual history? Clashing / contesting / mediating identities through new urban policies. Us and Them in urban settings: re-constructed memories and places. etc. this paper focuses on identifying. Following some notions from conflict resolution theory (Samy Smooha. one of the first Nazi camps in Europe for the mass interment of Jews. Linin Lea. statues. urban studies and history of art (Lea Linin)… The aim of the panel is to investigate contemporary memory policies and practices relating to recent conflictual past within different urban settings. ). University of Arts. and will examine their possibilities to become landmarks of cultural tourism and factors of urban regeneration.) Rogač Ljiljana. Within this paper. and analyzing the entirety of symbol bearers from the city. The Old Belgrade Fairground is analyzed as a symbol of suffering and trauma. PUBLIC ART PROJECTS) – METHODOLOGICAL FRAMEWORK The aim of this introductory paper is to provide a methodological framework for the panel debate. Belgrade A MEMORIAL SITE IN THE „WILD“ SETTLEMENT – THE OLD BELGRADE FAIRGROUND BETWEEN THE CONTESTED PAST AND THE NEGLECTED PRESENT The Old Belgrade Fairground is a memorial site. Another layer of research will focus on the strong opposition and civil protests these projects faced during their installment. revoicing the once won. as a symbol of urban architectural modernity and a symbol of artistic avant-garde. Monuments. Leaning on the theoretical texts from the cultural economy and urban theory (Franco Bianchini. Ljubomir Frckoski) as well as the postcolonial studies (Said.heritage that divides. Symbol bearers is a term used by Peter Nas to describe elements or characteristics of the urban context such as rituals. MONUMENTS. as well as the politics of oblivion. belonging to the pre-Skopje-2014 as well as the Skopje 2014 period. oppressed narratives and to boost cultural tourism as part of the city regeneration strategy. such as the case of the Old Fairground. heritage (Tunbridge and Ashworth) and cultural studies (Conrad. urban sociology and urban studies ( H. a complex valorization of this cultural heritage place is conducted. poetry. Buruma. Landry. Halbwachs). This chapter focuses upon the interrelations of memory. Thus panelist will use different interdisciplinary approaches from social sciences (Elena Battaigni). remain the main ideological and political context in which the future of this site is shaped. which were built under governmental initiative in Skopje historical core with two aims: to re-balance historical injustice. the urban setting of Skopje and the entirety of its symbol bearers will be looked at and explored diachronically following a sequence of three research questions: (1) What kinds of identity narrative lines do Skopje’s symbol bearers produce? (2) In what manner and why does the project Skopje 2014 endeavour to form additional identity layers of Skopje? (3) In what extent this project is bringing conflicting narratives within re-contextualized set of city identities? Robert Alagjozovski. sociology of memory (Svetlana Hristova). Monuments and Graveyards – representing conflictual individual & collective memories. Lefevbre. Nas). Bearing in mind the ”dissonance heritage”.

1996-2008). whereas The Box by Andrijana Stojkovic (2011). it has only evolved over the last two decades. Video testimony has a structure that reflects the structure of traumatic event it represents and ensures transmission of witnesses’ narrative. Elena Battaigni. University of Arts Belgrade. almost utopian image of forgotten memories of the early 90's and an authentic insiders' story about survival with enduring dignity in Belgrade and abroad. LOSS OF INOCENCE AND SHAVING (ANDREJ TIŠMA) In order to investigate the ways of constituting the collective memory within the contemporary visual art scene in Serbia. IRES (Economic and Social Res DISCUTANT Cultural memory in narratives of film and visual arts: Serbia after 2000 CHAIR: Nikolic Mirjana. S. as a genre. Pescanik/2007. 2010). Analysis of video works of these two artists has three objectives. concrete elaboration on the questions rose in the introductory paper. literary production (Semper Idem. works of Gordana Kuic. The paper also analyses the video-testimony as an artistic genre and the possible role of artistic testimony (or secondary witnessing) in the process of constructing the past. narratives and texts in the public domain. whose ideological positions. recollections. Belgrade. strivings. Faculty of Dramatic Arts. hopes and beliefs of the people. Belgrade. Djordje Lebovic. ask questions about the culture of memory in Serbia. this paper analyses videos of two Serbian artists. 2008. Belgrade. Tolnaj). Belgrade. University of Arts Belgrade. 1985. the identity. Faculty of Dramatic Arts. Serbia NONEXISTENT MEMORIES FROM NONEXISTENT COUNTRY (FILM AND POP MUSIC AS PARADIGMATICAL CULTURAL MEMORY In the absence of relevant historical resources. Faculty of Dramatic Arts. The second is to identify common formal and aesthetic values of video works of two artists. The first and most general is to describe the transformation of the genre from Shoh (C. Jelena. Dakovic Nevena. Specific geopolitical view of Yugoslav pop culture of the 80's mystified by the youth born in early 90's represents a distorted system of values precisely because of the ten-year hiatus and vortex of cultural values in the times of great political and social turmoil (nineties ethnical wars). Eventually. Memory narratives are chosen from among visual texts (film Kad svane dan/2012. museums and exibitions (Museum of the History of Serbia. are quite different. Faculty of Dramatic Arts. G. The use and role of the Holocaust multimedia and crossmedia narratives is explained both after the notions of Rothberg`s multidirectional memory and of Hoskins connective memory. A specific phenomenon of nostalgia for the old days emerged during the first decade of the XXI century in the region generations who had not even seen the old glory days of Yugoslav New Wave or post New Wave time. Serbia CONSTRUCTING NARRATIVES OF THE NATO BOMBING OF SERBIA THROUG VIDEO TESTIMONY: RED HOT SPOT/AFER THE FACT (MIRJANA ĐORĐEVIĆ). Film Oktobar by a group of authors (2011) or Klip by Maja Miloš (2012) brings forth a generational consensus on numbness and disinterest. the proliferations of diverse narratives and texts make visible the complex interrelations of the competing tendencies of the remembrance and forgetting/oblivion as induced by the contemporary political moments. The presentation would be further. Paskaljevic. as well as the impact of the current identity policy on the artistic production. Serbia Mihaljinac Nina. and thus the narratives about the bombing.110 re-staged the clash over the symbolic possession of the city territory (Church-Museum) and why instead of the reconciliation and sympathy over the human suffering it arouse another set of historical debates. video testimony belongs to the larger genre of testimony and. Serbia CULTURAL MEMORY NARRATIVES OF HOLOCAUST: SERBIA 2002-2012 The concern of this paper is to analyze the cultural memory narratives of Holocaust (and broader of Jewish identity) in Serbia in the period 2002-2012 made through the complex and dense interaction of various media art discourses. Jankovic Aleksandar. with the use of some of the most important theories of collective. University of Arts Belgrade. As the framing of a traumatic event. France) to videos presented in this paper. The unbound flow of memory narrative allows the comparative analysis of various narratives as well as the role of the narratives and narrativisation in the overall field of the memorialization of Holocaust and preservation of the cultural identity of the Jewish community in Serbia. Katarina. dealing with the theme of NATO bombing of Serbia. Marija by Nikita Milivojević (2012) and Practical Guide to Belgrade with Singing and Crying by Bojan Vuletić (2012) brings stylized. Mirjana Đorđević and Andrej Tišma. 2012) and eventually digi text (website of the project Visit to Staro Sajmiste. Lanzmann. . film and pop music can sometimes represent the only document and commentary on the certain epoch. University of Arts Belgrade. The third goal is to use the examples of these works to describe the mechanism of constructing narratives of the NATO bombing of Serbia and based on this.

my research focus is on how collaborative visual methods and the production of visual narratives may help to scaffold learning processes. Roskilde University. In the panel we initiate a dynamic process of reflection among the four participants in the panel. . Haug et al 1994. By meaningful we refer to human encounters that connect to hopes of change and new forms of critique. Denmark. curiosity and interest in 'the different other''. (Be)longing to a specific gendered and radicalised body constitutes in the analysis of these stories an excellent 'location' from which to analyse how socio/cultural and socio/economic categories like class. have seduced. manipulated or blurred differences of interest and conflict? How do we as researchers. The format of the panel is the following: In this dialogical panel (or round table talk) we create a collaborative and interactive space to discuss the issues related to research where collaboration. OUTSIDE. Roskilde University. critical and meaningful research based on storytelling and memories. I study my own facilitation with visual methods and artefacts for the purpose of enhancing group-based learning processes at my university. Masaryk University. as a way to produce insights and consciousness about the socio-cultural impact of sense making processes. The question which generated the stories to be analysed was: Describe a situation where you for the first time became aware of yourself belonging to a specific social or racial group. It invites the participants to explore human dialogues. Denmark. The panel therefore has emphasis on opening up and sharing experiences rather than lengthy closed presentations of theoretical and methodological positions. I critically examine and reflect on my core beliefs and values as a researcher and my roots in dialogic communication theory. 2000b. creative methods as well as the many challenges. instead opening for dialogue. I will offer reflections on the transformative power of visual. I draw on personal experience regarding the challenges of facilitating visually-oriented workshops for students and professionals. Frølunde Lisbeth. For example. INSIDE OUT" CONSTRUCTIONS OF COMPLEX (BE)LONGINGS This presentation analyses the workings of social categories in constructions of (be)longing. Roskilde University. Czech Republic The panel offers discussion about the situatedness of knowledge production and the notion of multi-vocal (multiple and different). The . Department of Communication. Pedersen Christina Hee. Hyle et. Olesen & Hee Pedersen 2013). Business and IT (CBIT) Facilitator: Černý Jakub. Typically. 2005:17). The idea is to create a space for dialogues that spark the expression of doubt and introspection . revolving around questions of how the involvement of the body. The memory becomes an opportunity to collectively critically deconstruct naturalised processes of interpretation. discourses and norms in relation to social categories. for example by reproducing certain notions. It also holds the promise of a different kind of research relations characterised by engagement. Department of Communication. Denmark. (Phillips 2011. psychologist (and artists / writers) relate ethically to the intersection of stories in processes of collaborative research? How do you in your research writings produce and reproduce. storytelling and memory are at the center of interest. Two different methodological approaches were in play. present and represent the stories of others (and your own)? How do you theoretically conceptualize the relation between listener and storyteller? Each presenter will have 15 minutes in total to present their response to the questions and their reflections related to another presenter in the panel. Hee Pedersen 2008. Memory-work is a collaborative methodology which has a lot to offer when it comes to understanding the processes through which we make sense of the social and construct feelings of (be)longing. Department of Communication. based on the following common questions: What challenges do you meet in your work regarding the use of narrative methodologies in research and /or therapy in general? Can you give an example where storytelling offered a common ground for the construction of hope and/or new forms of critique and action? or can you give an example where you have encountered that storytelling. The focus is methodological. who are invited to join the conversation. dialogic knowledge forms as being equally important and relevant to the production of knowledge. Pedersen Christina Hee. Davies & Gannon 2006). The aim of the panel is to further collaborative. Roskilde University. mediated by texts.111 The power of collaborative research methodologies – the pursuit of dialogue? CHAIRS: Frølunde Lisbeth. many associations and metaphors emerge and alter rapidly as people work collaboratively with images and stories in a workshop setting. The method integrates an explicit wish for change of dominant social structures while it at the same time collaboratively produces insights into how we as individuals participate in the productions of oppressive power relations. and phenomenological approaches to arts therapy. Denmark. Currently. 1992. although there are many challenges involved in sharing memories and stories in processes of research. The panel is viewed as a site for mutual inspiration for both the participants in the panel and the conference participants/audience. We seek to inspire cross-disciplinary researchers (in these dark times of neoliberalism and economic crisis) to engage in collaborative research processes.and not least to put forward new ideas about collaborative research related to storytelling and memory. In university settings in Bolivia and Peru we explored how socio economic and socio cultural differences had influenced the lives of the participants. Business and IT (CBIT) DOING A DIALOGIC DANCE: USING NARRATIVE AND VISUAL METHODS In this panel presentation and paper. The panel invites others to share experiences with collaborative research and to discuss its methodological and ethical dimensions especially when memory is involved. Wiederberg 2011) and Collective Biographies (Davies 2000a. There will be time to open up for reflections and contributions from the audience at the panel session. Business and IT (CBIT) "INSIDE. nationality and age intersect with one another and consequently widen and/or diminish possibilities for legitimate belonging to society (Anthias. Memory Work Haug 1987. A general characteristic of using visual methods is that they promote emergence and transformation of meanings. emotionality and common sense philosophies of everyday life support collaboratively produced knowledge. al 2008.

112 challenges of using visual methods include making the purpose for using methods clear. Faculty of Music Buzarovski Dimitrije. My presentation will relate to challenges experienced in this collective inquiry. Barbora Petránková. Digital Extension of Music Memory Music as a Collective Cultural Memory CHAIR: Buzarovski Dimitrije. A related challenge was the different motivation of research participants in relation to the process of collective biography. I will critically reflect on the possibilities for realizing biographical research in a university context and discuss how it can be a viable methodology in some situations. Faculty of Music INTERNET EXTENSION OF MUSIC MEMORY Individual work approach to collective cultural memory is marked by unprecedented digital tool – Internet. “Ss. In the discussion. especially how the purpose of an activity is conceptualized with or co-created with the participants in a given setting. dealing with participants’ discomfort that may be expressed as “not being able to draw” or “not being creative”. involving constructing a framework for group work. balancing exercises that encourage participants to be playful and open to the concrete and abstract meanings yet feel safe. Dimitrijevski Aleksandar . Social networks accelerated the exchange of music artifacts to extremely large numbers of participants. The migration from the author’s individual memory to the common collective cultural memory forms the cultural heritage and this equally applies to tangible and intangible cultural artifacts. The appearance of different means for audio. I will also discuss differences and similarities between doing psychotherapy and the collective work with memories in research. “Ss. My first try to create a postmodern collaborative inquiry focused on mutual transformation and the symbolic value of dialog in psychotherapy setting. The records of the downloads of the “Gangman Style” song in billion. Cyril and Methodius University” in Skopje. In our research we collected and analysed the data regarding the music posting on YouTube. “Ss. I consider how I try to develop a dialogic dance inspired by a dialogic understanding of empowerment and phenomenological approach to emergence. Faculty of Music DIGITAL VS. Cyril and Methodius University” in Skopje. and later audio/video recordings greatly improved the distribution of music. Faculty of Music DIGITAL EXTENSION OF MUSIC MEMORY: MUSIC AS A COLLECTIVE CULTURAL MEMORY Art works represent a very important part of the collective cultural memory. Music as a part of the collective cultural memory reflects the collective memory in spacial (geographic) and temporal (historic) dimension. Department of Psychology. can confirm its existence only through the presence in collective cultural memory. Narativ Group. support the argument for the influence of the new technological means on the collective memory. Department of Psychology. Czech Republic CONDUCTING COLLECTIVE BIOGRAPHY IN A UNIVERSITY CONTEXT In the paper I will reflect on my personal experience of conducting research by using collective biography in my Master’s thesis. TRADITIONAL MEANS FOR TRANSFER OF MUSIC FOLKLORE . Cyril and Methodius University” in Skopje. I will present and discuss some of the choices and challenges arising from conducting research in collaborative and non-hierarchical ways in a specific context (my university) and my methodology. facilitation involves dealing with ethical issues. Novak Martin. I will touch upon challenges I met arising around questions of authorship since formalities related to thesis writing may be in sharp contrast to the way knowledge has been produced traditionally. Therefore. Jordanoska Trena. Masaryk University. all participants are on equal terms however the distribution of power in the inquiry process is not equal if one person has formulated the research question or written the final analysis. Cyril and Methodius University” in Skopje. “Ss. Czech Republic POSTMODERN COLLABORATIVE RESEARCH AS A CREATIVE PROCESS Who produces what kind of knowledge in postmodern collaborative research? Which ethics do we as researchers respond to in practice driven research? And what about that beautiful idea of having an equal position with all participants? How can we understand the factors of power in collaborative research? In my paper I draw from my personal experience. I reconsider my use of visual and narrative methods in teaching and supervision practice in relation the whole context. In my conclusion. personal problems. Ideally. The scores improved and facilitated further distribution of the music artifacts. My experience is that the use of visual and narrative methods is a dance with participants. by its definition. Every artistic work. YouTube counter is undoubtedly the best indicator for the presence of these artifacts in virtual reality. Masaryk University. such as the risk of exposing difficult. the facilitation with visual methods is important. One of the important aspects of the new digital transition is that the improved transfer rates resulted in an audio quality approaching the limits of human hearing. The transition from analog to digital recording and carriers was a revolutionary step which substantially extended the chances of the survival of music artifacts in the collective memory. Also. which I conceptualize as a mutual meaning-making process that emerges in a specific context. Until the appearance of the written signs (scores) music was preserved only through the collective cultural memory.

University SS. in terms of ethnic balance in Istria and Rijeka. Soja). University of Rijeka BLOWING UP BROTHERHOOD AND UNITY: COMPARING THE CULTURAL MEMORY OF WORLD WAR TWO IN ISTRIA AND LIKA The cultural memory of World War Two. the shipyard changed numerous owners and operated under various national flags as international borders shifted in the Upper Adriatic (it was the Hungarian “Danubius”. MAJ“ SHIPYARD The paper explores levels of symbolic meaning of the shipyard “3. open interviews with present and former workers and observations made inside the shipyard. During the twentieth century. “3. Because of the similar non-linear history of Rijeka. which experienced considerable interethnic violence in the 1990s. social and cultural systems. Croatia and Slovenia. .Maj” begins in the year 1892. Department of Cultural Studies. . This paper compares the fate of the WW2 heritage in two Croatian regions: Lika. Maj” serves as peg on which the inhabitants of the town hang memories. The story of “3. was one of the pillars of the socialist regime’s political legitimacy in Tito’s Yugoslavia. construct meanings and establish the ways in which to manifest their local. and later Croatian. political and social events that impact the perceived placement of people within local landscapes. For the people still intending to use Italian language or dialects or to identify themselves with the new local Italian minority. along years of more or less freedom of speech and of good and bad relations with Italy. 1991-1995) resulted in the widespread revision of historical narratives and the destruction of thousands of antifascist monuments and memorial objects. Gupta.and to not deal. Ferguson) and on the cultural geography theories of social space and landscape (Massey. space and environment (Ingold. D’Alessio Vanni. uses memory to explore the economic. we try to explore the influence of the distribution channels on the extension of folk music in the collective cultural memory by comparing digital versus traditional means. but also for its economic and social consequences for the whole area. While Serb-Croat relations in Lika and Italian-Croat relations in Istria had both been strained by contested historical narratives since WW2. not only in the press and historical reconstructions but also in works of fiction as novels. The shipyard is taken here as a place. senses of self-recognition and social identity. the emigration came first as a possibility and choice and then as a traumatic experience to re-elaborate in the new political and social situation. As warfare between Croats and rebel Serbs supported by the Yugoslav People’s Army and Milošević’s Serbia spread throughout Croatia. This included incorporating the slogan of Brotherhood and Unity. The digitisation of music folklore has had further consequences both in musical and nonmusical aspects. of Social Sciences) THE MEMORY OF THE MISSING PEOPLE. Department of Cultural Studies. and Istria (along with the city of Rijeka). the Italian “Cantieri navali del Quarnero”. the assault on the memorial heritage of WW2 became a systematic effort to erase the cultural memory of Serb-Croat cooperation and replace it with nationalist victimization narratives. of History) and University of Naples (Dept. with families and old communities divided by different political. tales and poetry. THE ITALIAN “EXODUS” FROM ISTRIA AND RIJEKA AFTER WW2 IN THE WRITTEN WORDS OF THE ITALIAN MINORITY WRITERS IN YUGOSLAVIA AND ITS This paper will deal with the question of Italian mass emigration from Yugoslav areas of Istria and Rijeka and with the demographic huge changes that it caused at a local level. University of Rijeka (Dept. In this paper. in particular the victory of the Partisan movement. Cyril and Methodius Pavlaković Vjeran. Ethnography. based on archival research. The old residents found themselves scattered across the Italo-Yugoslav border. Knowledge about the shipyard is constructed by ordinary stories of daily life that invoke the positioning of a community of people in both the real and imagined sphere. while ethnic and linguistic borders acquired new significances. This paper will analyse historiographical and fictitious compositions on the mass emigration (and on the taboo topic of the mass killings) to see how they followed and fit in the political evolution in Yugoslavia. with the German shipbuilding house Howaldts Werke of Kiel. Maj”). Institute of Ethnology and Anthropology. The dissolution of Yugoslavia and the war in Croatia (the Homeland War. Low. and in some instances their national. The paper will rely upon the cultural anthropological theories of place. How the Italian minority community in socialist Yugoslavia and then independent Croatia and Slovenia articulated the discourse and memory of the loss? This paper will discuss the function of intellectuals and their abilities. which remained outside of the war zone.with this trauma along the years. will and possibilities to deal . as a knot of entangled lifelines of workers and inhabitants that interact through time and territory. University of Rijeka BUILDING MEMORIES: STORIED KNOWLEDGE IN „3. which represented the Yugoslav Communist Party’s efforts to overcome the bloody legacy of internecine warfare.113 Until recently the definition of music folklore included “oral/aural” as a central category for distribution and reception of folk music artifacts. Maj” for the town of Rijeka. it can be argued that “3. into the country’s commemorative culture and memorial heritage. Puljar D’Alessio Sanja. and the Yugoslav. The recording era facilitated the distribution of the song and dance music to a much wider audience while eliminating the need for physical presence of the performers. Cultural Memory in the Upper Adriatic CHAIR: Risteski Ljupčo. the recent conflict resulted in not only the construction of new state-building narratives based on the Homeland War but also the almost complete disappearance of physical markers of WW2.

Guinea-Bissau. by disclosing the narratives of individuals who have lived conflict and displacement experiences. The presentations focus on historical events of two European. Research Centre for Natural Sciences. the public rediscovery of the sea and of the maritime identities brings about a rehabilitation of cultural heritages. Cape Vert. which eventually work against the supposed homogeneity of the national cultures. However. to perform an institutional appropriation of the littoral zones and the maritime areas is not an easy task because the cultural assimilation of the same areas within an exclusively ethno-national narration can be quite challenging. namely.114 Cocco Emilio. However. Furthermore. both nations went through events implying significant reducing of their territories. Media artefacts – such as monuments. Rosa Cabecinhas. Isabel Macedo and Rosa Cabecinhas analyse five recent documentaries on the colonial past of Portugal and try to spell out what they reveal about national social identities. can shape the social representations of history and consequently. the Portuguese dictatorship. Although there are seeming differences. Histories. Hungarian Academy of Sciences. emotions and attitudes toward immigrants. THE NATIONALIZATION OF MARITIME HERITAGES AND THE CONTEMPORARY USES OF CULTURAL MEMORIES OF THE SEA The paper discusses the nation building process in the Adriatic Sea and explores how different social actors exploited cultural memories of the maritime world to build up national imaginaries. by rewriting history. Cabecinhas Rosa CECS/ University of Minho. Abadia. Braga. Mozambique and Portugal. The question is approached from different angles. Macedo Isabel. national and post-national identities. which have been searching for national legitimacy and historical roots in the rich Adriatic imaginary. Actually. These films’ action takes place in Angola. The panel reflects the diversity of methods for analysing narratives since the presentations apply both qualitative and quantitative methods while they are seeking answer to the same set of questions on narrative transmission. Dept. of Political Science. The four presentations of this panel aim to answer the question of what does this relation reveal about social identity of the narrators and about their perceptions of intergroup relationships. They discuss how memory is (re)created in postcolonial contexts. Éva Fülöp. Braga. we aim to explore how these narratives of the past shape social and personal identities of those who have lived displacement experiences. Institute of Cognitive Neuroscience and Psychology. affect the (re)construction of ethnic. Brazil. They focus on exploring what the use of emotion categories reveal about the elaboration of this historical event. featuring autobiographical memories and presenting representations of the nation and its colonial history from different viewpoints. Lilia. Macedo Isabel CECS/ University of Minho. with memories involving the colonial war. because the end of a somehow shared Yugoslav frame set the stage for a virtual battle among the post-socialist nation states. this context of ambivalence became even more problematic. national identities and perceptions of intergroup relations CHAIRS: Pólya Tibor. Cabecinhas Rosa. and how are their emotions potrayed in audiovisual contents. Therefore. The analysis of perceptions also relates to the social identity of respondents. University of Teramo “THIS SEA OF OURS”. symbolic systems and geographies of civilization that open up new cleavages and distinctions. In this paper we argue that autobiographical documentaries create sites for remembering. I address the topic of the rediscovery of the sea by sketching out the ways the Adriatic Sea has been imagined from the era of empires until the present. Young people from these countries (totalizing 819 participants) answered . With the collapse of the Socialist Federal Republic of Yugoslavia. throughout a historical process of terrestrial conversion of the maritime-based social relations. Through content and narrative analysis of the selected documentaries. Crossing the potential of the autobiographical narratives – as a powerful local discourse form – with the need to give voice to lesser-known struggles of migrant people. but remote nations of Portugal and Hungary. Lilia Abadia and Isabel Macedo report a study on lay representations of national history and the sources of information about it. narratives not only inform on past historical events but they also reveal how narrators relate to past events. having the ability to shape the collective imagination of the past. I shall point out how social representations of ethnic relations have been interwoven with the social construction of the sea and the sea dwellers. Portugal AUTOBIOGRAPHICAL FILMS AND CULTURAL MEMORY: REPRESENTATIONS OF NATIONAL HISTORY IN RECENT PORTUGUESE AUDIOVISUAL PRODUCTION Media technologies and the circulation of media products have an active role in the (re)constrution of cultural memory. Portugal REPRESENTATIONS OF NATIONAL HISTORY: COMPARATIVE STUDIES IN SIX PORTUGUESE SPEAKING COUNTRIES In this paper we analyze the perceptions about the national history in six Portuguese-speaking countries: Angola. Braga. We aim at understanding which representations of the past do the films recently produced in Portugal disseminate and how these representations of national history are related with attitudes towards immigrants. documentary films has provided the necessary elements for our analysis of social representations of history. East Timor. Cabecinhas Rosa. museums and films – can link members of a community to their history. Mozambique and Portugal. we intend to discuss how these films. Barbara Ilg and János László analysed the changing interpretation of one of the most traumatic event from the history of Hungary in a longitudinal study of written press. and migration experiences. Zsolt Péter Szabó and Noémi Mészáros study the relationship between the various forms of identification with nation and the perception of intergroup relationships. Finally. by transmitting historical accounts and generating a relationship with the public. CECS/ University of Minho. In this context. Portugal Narratives are efficient tools for retaining memories of significant historical events. we selected five recent documentaries (produced between 2007-2012). of the colonial past.

2005. one of the most significant events of the twentieth. deny the experience of self-critical groupbased emotions (such as guilt.. Overall. groupbased emotions. High frequency of emotional words was assumed to referring to high emotional involvement and weak elaboration of the traumatic event. In addition. COST IS1007 "Investigating Cultural Sustainability"/ University of Jyväskylä Graham Fairclough. historical figures are evaluated significantly more positively than events and cover a broader diversity of domains. empirically in the narrative language of different forms of group histories.. part of the citizen’s right to participate in cultural . Éva. but ‘Why’? It recognises the plurality and cultural diversity of heritage. How can the ‘Faro Convention on the Value of Cultural heritage for Society’ (which several Balkan countries have ratified) be used to help establish heritage and memory as key elements of social cohesion. in every five year period from rightwing. GROUP-BASED EMOTIONS AND RESPONSIBILITY TAKING IN CASE OF IN-GROUP PERPETRATORS The conceptual framework of social identity theory (Tajfel. glorification has a positive relationship with the demand of compensation and reparation. such as arts and sports.). It was presumed that identity needs of certain historical periods shape representations of the national trauma and have effect on the elaboration process. However. László. etc. using an adaptation of the methodology pioneered by Liu et al. for the study of the representations of world history. ELABORATION OF COLLECTIVE TRAUMA IN HUNGARIAN NEWSPAPERS Narratives are assumed to be means of constructing personal and social identity and means of communicating and transmitting representations of the past through generations. &Liviatan. in press). Research Centre for Natural Sciences. Results show that in all countries the most frequent nominations refer to the events and historical figures that symbolize the foundation of the state and/or its transition to the political present-day regime. Ilg. namely attachment to the in-group and glorification of the in-group (see also Roccas. Barbara. religious. COST IS1007 "Investigating Cultural Sustainability" / Newcastle University (UK) PAPER TITLE: THE FARO CONVENTION ON THE VALUE OF CULTURAL HERITAGE FOR SOCIETY– AN INTRODUCTION TO A ‘NEW HERITAGE Faro is a new type of heritage convention. Hungary. 2006). Pécs. Klar. in case of out-group aggression. Budapest. through narratives of written press.century Hungarian history. Tajfel & Turner. János University of Pécs. Szabó Zsolt Péter. Portuguese participants mentioned mainly TV news. in-group directed anger) and as a consequence they refuse to compensate the victims. Mészáros Noémi. Turner. Results are discussed in framework of collective victimhood. It does not ask ‘How’ heritage is to be preserved. participants evaluated their impact on national history (from very negative to very positive) and their emotions towards them. Institute of Psychology.) CHAIR: Soini Katriina. 1981) and self-categorization theory (Turner és mtsai. LEGITIMIZATION TENDENCIES. and sees Heritage in all its forms (material and intangible forms. democratic participation and pluralistic identities (A panel discussion by members of the IS1007 ‘Culture in Sustainability’ COST Action. Results show a very weak emotional elaboration of the collective trauma. Fülöp. linguistic. Hungary RELATIONSHIP BETWEEN NATIONAL IDENTIFICATION. The interplay between the social identification processes. Regarding the sources of information about these events. 1978. N=713) to demonstrate that attachment and glorification has a different relationship to group-based phenomena such as legitimization tendencies. After listing the events and the figures. Our research team developed a Hungarian national identification questionnaire (N=586) (Szabó & László. 1987. 32 newspaper articles were analysed with NarrCat content analytical tool according to emotional expressions of the text corpora. Hungary. which can differentiate between two modes of identification. Pécs.e. they indicated their sources of information about the national history and their degree of identification with several groups (national. left-wing and mainstream papers. Present study examines emotional representation and trauma elaboration of collective trauma of the Treaty of Trianon. At the end of the survey. and responsibility taking. Articles were chosen from right after the signature of treaty in 1920 to 2010. University of Pécs. Institute of Psychology. 1999) proves that identification with the national in-group is an important factor in the judgment of inter-group situations. although articles from the communist era were not available because of political repression. narrative markers in papers with different political orientations refer to polemic representations of divergent ideologies. ethnic. Hungarian Academy of Sciences. TV documentaries and schoolbooks whereas African youngsters mentioned mainly radio and word-of-mouth. Abstract: Narrative social psychology claims that states and characteristics of group identity and elaboration of traumatic experiences can be traced objectively i. In case of in-group aggression subjects with high glorification scores use alternative interpretations of the events (most importantly various types of moral justifications). objective conditions and the patterns of searching information in the (re)construction of the nationviews will be discussed.115 to a face-to-face survey with open questions about the events and historical figures they considered to be the most important in their nation history. We have carried out several studies (3 studies. and with issues of social and cultural memory to the fore) as something to which every citizen has a right. Institute of Cognitive Neuroscience and Psychology. shame. regret.

Such aspirations have a new importance in a 21st world where the some established forms of belonging are melting away. for answers and for adequate (re)action both of professionals in cultural heritage and of public and politicians/policy makers. The projects led by the Val de Bievre eco-museum in the city of Fresnes (located in the suburbs of Paris. and where virtual connections as well as mobility foster multiple identities. and consequently it invites the inhabitants to participate in temporary exhibitions and various activities. increase links between the town’s districts (citer center. The present challenge is to provoke new thinking on methodology and concepts that will create an environment at both national and international level in which different assessment tools will have important roles in planning. develop social cohesion. ill-defined goals and cultural policies. values. of other groups – ‘everyone. monitoring and evaluation of activities impacting on sustainable cultural heritage. feminine condition… The Val de Bievre eco-museum intends to be a tool for the local population. The suburbs are specifically affected by rapid and uncontrolled urban growth. it has become crucial for societies to work on these issues in the quest for sustainable community development. such as: conflicts over Monastery Prohor Pčinjski. for measuring the value and the impact of cultural conventions? Who is responsible (if any) for development of cultural indicators that measure implementation of the Faro Convention at national level? What happens if/when internationally conducted evaluation shows that Faro Convention has not been implemented at national level in countries where it has been ratified? These are just some of the basic questions that call for attention. alone or collectively. at both national and international level. needs and aspirations of the population. and to find ways ‘to live equitably with situations where contradictory values are placed on the same cultural heritage by different communities’ Elizabeth Auclair. The aim of this institution is to collect and valorize elements concerning the local populations and the way they live . But it also sees that everyone has responsibilities . COST IS1007 "Investigating Cultural Sustainability". but especially in terms of its potentials for conflict resolution. social environment. has the responsibility to respect the cultural heritage of others as much as their own heritage’. In this context. immigration. University of Arts in Belgrade (SRB) PAPER TITLE: CULTURAL HERITAGE AND MEMORY – FROM CONFLICTED VALUES TO DIVERSITY OF INTERPRETATIONS. Having these factors in mind this paper will provide a structure for thinking through the process of either redefining existing or development of new approach that will allow better use and interpretation of cultural indicators in measuring interconnectedness between cultural heritage and 1) policy making processes. increase of spatial fragmentation and social segregation.and have lived . realize that enhancing collective and individual memory can be an interesting tool for community cohesion. important “regeneration” operations. social housing neighborhoods. The Stone Bridge (Dušan Bridge). Memory Building in Electronic Media . transnational and sub-national identities assert themselves. between the generations. COST IS1007 "Investigating Cultural Sustainability" / Cergy-Pontoise University (F) PAPER TITLE: CULTURAL MEMORY. and thus the cultural memory. COST IS1007 "Investigating Cultural Sustainability". becomes even more important. Presentation of the cultural heritage and its interpretations by different communities have for long been sources of conflict. where migration forges new relationships between landscape and identity. The diverse topics are related to urbanization. well being and quality of urban life. it is important to raise questions: What is the role of cultural heritage in the construction of peaceful relations among societies in the region? How to raise and reinforce collective responsibility and competences among all the public towards cultural heritage? How to develop trust and mutual understanding as well as respect for diversity of interpretations of the meanings put upon cultural heritage? The contribution to the panel will be to explore that interrelation between cultural heritage. that is to say the elements which contribute in defining the urban “landscape”: histories. not only for its own intrinsic value. etc. Jasmina Beba Kuka. employment. etc. PARTICIPATION AND SOCIAL COHESION IN SUBURBAN TOWNS Cities all over the world are facing important changes due to globalization and neoliberal economic processes. as well as in measuring of negative impacts on cultural heritage. traditions. and between the different communities living in the town. loss of public spaces. The aim of the paper is to show under what conditions cultural memory can enable appropriation of the territory by the inhabitants. Nowadays when the concept of cultural heritage is being significantly expanded and deepened.116 life as defined in the Universal Declaration of Human Rights. Ljiljana Rogač Mijatović. from costume and beliefs to landscape and history. in the Val de Marne Department) seem a good illustration of this type of approach. economic recovery. In this context cultural memory based on heritage. lack of quality data.on the territory. Milena Dragićević Šešić. It is possible to imagine a reinforcement of ssocial cohesion through sharing responsibility towards the places in which people live. Belgrade Open School (SRB) PAPER TITLE: ASSESSING IMPLEMENTATION OF RATIFIED CONVENTIONS Many international bodies are in charge of monitoring and evaluation of different conventions but do we know what assessment tools are in place. Many suburban towns. individual housing areas…). 3) cultural tourism. where new supra-national. 2) human/social development. characterized by a negative and despised image. Cultural indicators are often shaped by several factors such as: institutional rules.an individual and collective responsibility towards respecting and protecting the cultural heritage. memory and identity through several examples.

such as– Đoko Vještica. dominant political ideology. the paper investigates the relation of the memory narrative toward recent and far past (hi)stories and the way it works in the contextualisation of the personal remembrances and memories. the contemporary moment of Serbian society is the „clash of memories“ between media memories under the influence of the old societu and memories that are tying to be created by the new political establishment which has a goal in spectacularisation of certain social events. In cases of great political crisis. such as the 5 October 2000. At the same time. obedience. I seek to model the ways RTV Studio B becomes the active guard and keeper of the memory narratives of the city. Dokuz Eylul University Fine Arts Faculty Department of Photography Atay Eskier Simber.mainstream media built their practices mainly on fear. Another trend is based on activating the mechanism of forgetting that the media consistently implemented. objects and remains. history. relationship between personal and collective memory and mediatization of memory through virtual communities. the team of the youth contact show „Ritam srca“ . They become metaphors to discuss current political situations. reconciliation. Slobodan Konjović. Faculty of Dramatic Arts/University of Arts. Due to the work of its journalists. which was then enhanced by the media . From this point of view.it became the model of the program concept dedicated to the the life of the metropolis. In the year 1990 as sort of its spin off emerged first Independent TV Station Studio B.2012 The modern history of Serbian society was inriched with political and social events that had the characteristics of a spectacle. Faculty of Drama Arts/University of Arts Belgrade. What was role of the mainstream mass media in construction of 9/11 remembrance. They represent in a relative way “zeitgeist”. (Priest. virtual and on site. One of the conclusions of this article should point out the aspects of manipulation and unethicalitty in phaenomena such as spectacularization of political and social events. Serbia INDIVIDUAL AND COLLECTIVE MEMORY OF 9/11 ATTACKS –THE ROLE OF TACTICAL MEDIA IN VIRTUAL REMEMBRANCE PROCESS This paper is aimed at analyzing the ways cultural memory and remembrance of 9/11 were built through mainstream media channels and through decentralized. Duško Radović. Finally. Dokuz Eylul University Fine Arts Faculty Department of Photography "AGAINST OBLIVION" Architectural structures are cultural signs and old. They belong to the collective memory and they are symbols of nostalgia. I feel that I record nothingness and each work session. while tactical media opened new spaces for empathy. Both practices of 9/11 mediatization. narratives. They keep mnemonic details. “Heidegger and the grammar of being”. Serbia MEDIA AS THE AGENCY IN BUILDING UP THE MEMORY OF THE CITY – RTV STUDIO B The concern of this paper is to analyse the actual programme-production specificities and characteristics of the RTV Studio B in order of mapping out its contribution to the creation and constitution of the memory narratives of the city of Belgrade. in Serbia. national awareness. Media took over the control of memories. Since its very foundation – April 1st 1970 when it was founded as Radio Studio B of the daily news company Borba. giving space for the narratives that were marginalized in mainstream media discourse.Studio B is paradigm of the contemporary radio expression. The memory narratives began to involve both image and sound. the way of presentation of those events has fundamentally changed. This paper will focus on mediatization of national and cultural trauma. They concretize “the beginning of the end” phenomenon. creating its image.117 CHAIR: Maricic Nikola. the media were the mean of distribution as well as the channel interpetative channel of recent events in accordance with the political ideology of the victorious faction. provides the national framework of collective memories and shapes the individual's memory. in “Grammar in Early Century Philosophy”. what tactical media projects (as Virtual Casebook 9/11 or HereIsNewYork. through mainstream and tactical media. In this sense. free and activist tactical media. further. but the core feelings were different . Maricic Nikola.org) brought into the process of creation of cultural memory and how they positioned individual identity expressed through individual memory and individual construction of the meaning of 9/11 events into broader context. Serbia MEMORY AND FORGETTING AS A STRATEGY OF MEDIA POLICY: SERBIA. solidarity. now that more than a decade has passed. sometimes historical abandoned buildings have aura. 1991 . while documenting this kind of buildings in Izmir. Faculty of Drama Arts/University of Arts Belgrade. . being is nothing. I ask to myself: What is the nothing? Why I record it continuously? What am I looking for? Maybe I should remember the logic of Heidegger: “Being is what it is that makes beings be / Nothing is what it is that makes beings be /Hence. as well as forgetfulness of media policies and strategies. personal view. unquestioned patriotism. producers and authentic radio „stars“. Belgrade. connectivity on global scale. Recording the Absence in Urban Area CHAIR: Atay Eskier Simber. Serbia Martinoli Ana. change collective identity? Nikolic Mirjana. Zoran Modli. Graham. Marko Janković. Faculty of Drama Arts/University of Arts Belgrade. concept and work. Sometimes. confrontation. in those void spaces. had cohesive effect on the audience. paper will try to elaborate on the question what is the position of media consumer in contemporary media landscape – are we witnessing the establishment of the new space for display of individual memory and how does individual/personal memory re-shape and affect collective memory and.

Serbia. The analysis is concerned with the relationship of individual and collective cultural memory. Dokuz Eylul University Fine Arts Faculty Department of Photography. In this panel. Which means he/she pasts from mnēmē to anamnēsis. In addition. The case study examines the films Sheitan Warrior (Šejtanov ratnik. understood both as individual or collective memory) and evaluation (correction of official history through metaphorical and symbolical restructuring). Then the old factories. The scope of examination covers the social and cultural circumstances arising from this struggle and internal national turmoil that echo in the memories and (through the prism of fantasy) are woven into contemporary film narratives and shape the (film) present. In this panel. Stansilav Krakov 1941) it identifies their attempts to build history and national memory narrative which was adapted to the political. France HISTORY AND MEMORY IN SERBIAN HISTORICAL SPECTACLES 1911-1941 The concern of this paper to explore the construction of history and memory narratives in the Serbian historical spectacles 19111941. I will discuss the use of historical and abandoned places as a creative strategy by the artists in Izmir. Abandoned places remind us the death and the absence because of their non-functional structure and have no human. Faculty of Fine Arts. and installation artists etc. he/she tries to catch the Moment. Sakarya.243). almost only visitors are photographers. that means he/she is the most “usual suspect” of the History. Faculty of drama arts/University of Arts FANTASY AS THE DISCOURSE OF CULTURAL AND HISTORICAL MEMORY IN CONTEMPORARY SERBIAN FILM The aim of this paper is to analyze the elements of fantasy. Identity CHAIR: Dakovic Nevena. dynastic and historical context of the times. memorialisation (depiction of the past. became a mean to describe the own fury of the photographer. Čiča Ilija Stanojević. his book The Life of the Man on the Balkan (Život čoveka na Balkanu). The main questions addressed in the analysis are: what is the place and function of historical and cultural memory in the films that are the subject of this study. Serbian Golgotha: Fires in the Balkans successfully combines his personal memories from the Balkan wars and WW1. actually he/she express his/her individual stories. London. Department of Visual Communication Design. CERI. While photographing the urban areas. Artists observe and record like a stalker. Nezaket Tekin. tableaux vivants and very primitive scenarios to the establishment of a fiction faction mise en scene in Stansilav Krakov`s film. Serbian Cinema: 1911-2011: (National) Memory. 1911) to Golgotha of Serbia : Fires in the Balkans (Golgota Srbije: požar na Balkanu. History. what is the role of fantasy in the presentation of historical events and cultural circumstances and how is fantasy woven into the relationship/memory of national history and culture. Mila Turjalic. documentary material and reconstructive fiction scenes. celebration (contextualising the relationship between film and national history). the Balkan wars and WWI. Turkey SIGNIFICANT ABSENCE Who remembers? Who is this Subject? If he/she is a photographer. Izmir. They try to analyze the layers of these places memory. This development is reflected also in a stylistic evolution from rudimentary film de l’art. Is it possible to reveal the memories of places and the city with art works? The contemporary art works distort the facts of the places history? Are these places use only as a background in art works? How could art works affect the future of these places? What is the difference of recording places as documentary or a tool of art? Could we evaluate the art works done in abandoned places in the context of hauntology? I will try to answer this kind of questions. Suzan Orhan. a ghost hunter. Dept. musicians. maybe this act of record is a struggle for memories. 2008). predominantly wars that played a crucial role in Serbian history: Turkish conquest and life under Ottoman rule. Faculty of drama arts/University of Arts Mitrovic Biljana. This analysis will examine the hypothesis that fiction and fantasy are ways of expressing not only memories but also the manner of their existence in collective memory and in art. “Photography is a representation of Memento Mori” is the main interpretation of theory of photography. I would like to show some visual testimony examples and personal experiences and photographic works. Faculty of Drama Arts/UoA Belgrade FROM THE GENERATION MEMORY TO THE GROUP IDENTITY: THROAT FULL OF STRAWBERRIES . Faculty of Dramatic Arts in Belgrade. ruins. This textual interplay of documentary and fiction footage provides an interesting approach in the depiction of the past and creates a mutually challenging relation. Natasa Delac. 2006) and Tears for Sale (Čarlston za Ognjenku.118 Routledge. Tracing a line of films from The Life and Work of the Immortal Leader Karadjordje (Život i dela besmrtnog vožda Karadjordja. graffiti’s etc. 2001. Turkey SHOT TO DEATH: THE FAITH OF ABANDONED PLACES BY ARTISTS Abandoned places and ruins –places which have layers with different periods of the history. an archeologist or a historian.are centre of attractions for the artists. Aleksandra Milovanovic. of Theory and History. who try to regenerate the lost (missing) memory of the place. p. videographers. Hence. Sakarya University. as well as its meaning and function in the presentation of historical and cultural memory in contemporary Serbian film. Paris. as well as the memory of historical events. warehouses. SciencesPo. while providing: contextualisation (archival material providing a historical context for the film). Therefore.

It tells about the reunion of the particular generation that evokes the memories about the events during the 60th (the time of their youth). The work is based on Jan Assmann and Aleida Assmann’s theory of memory. Details of abuse (sexual. the analysis includes the mapping. or is this an unreasonable and even misplaced objective? In any case. was kept as a memorial until 1993 when reconstruction began.. Emotion and feelings become the main device to create empathy with victims. and “Work on the national memory” and “The long shadow of the past” (Aleida Assmann). and visitors are often positioned in such a way as to experientially re-enact the trauma. their commemorative functions and associated ceremonies evoke burial rites. In this paper. Department of Philosophy and Communication. reflexion and critical thinking over the past. with a special review to the books “Cultural memory” (Jan Assmann). This movie is the continuation of the series “The Unpicked Strawberries” (Srdjan Karanovic. Is it really possible to evoke in visitors the feelings and emotions of victims. so the topic this film is focused on represents the starting point for the study of the generation memory and its function. hit by Allied bombing in the last days of WWII. Firstly. but narrative forms as well. museums are educational institutions tasked with critical interpretation and historical contextualization. Later it emerged that Foreign and Commonwealth Office files filled with incriminating evidence of how this abuse of human rights was condoned and even encouraged by the British and their forces in Kenya.119 In the work with the topic “From the generation memory to the group identity: A Throatful of Strawberries”. In contrast. Spaces of Memory in Comparative Perspective: Performing Life in Former Sites of Suffering and Death CHAIR: Violi Patrizia. This pervasive trend needs further investigation. The pairing of these ghosts from the past in both . such as The World Trade Centre Memorial (New York). University of Bologna EXPERIENCING TRAUMA. Department of Philosophy and Communication. Film “A Throatful of Strawberries” (by Srdjan Karanovic. the Department of European Cultures and Languages. this time between Mau Mau and ‘Loyalist’ forces in what is now Lari District (north of Nairobi) on the anniversary of a double massacre committed there in March 1953. Meanwhile national newspapers in Kenyan carried features listing similar abuses. the thesis which I covered in the work refers to the difference between Halbwachs’s term “the images of memory”. Four Mau Mau veterans argued for the right to lay a claim against the British Government for the torture and degradation they experienced while in detention under suspicion of Mau Mau activities during the state of Emergency in Kenya during the 1950s. physical and mental) which form part of this newly discovered archive and recounted in the British press made gruelling reading. the influence of personal and collective memory on generation identity is analyzed. 1985) was chosen as my study of case. the relation between personal and collective memory is questioned. both from theoretical and ethical points of view. and “the figure of memory” introduced by Assmann: the figures of memory are complementary to the first term “because they include not only pictorial. and how memory and remembrance affect what we call generation identity. even if a museum were to succeed in creating such a “shock pedagogy” is there not a risk that this becomes a kind of “pornography of horror”? Furthermore. Patrizia Violi. what kinds of formal means and aesthetic devices have been used so far in different situations in seeking to obtain this type of experiential effect? My intervention will examine several different examples of this kind of phenomenon. Birkbeck (University of London) REMEMBERING WHAT HAPPENED AT THIS SITE: IN FLANDERS FIELDS (YPRES) AND THE MILITÄRHISTORISCHE MUSEUM DRESDEN Ypres and Dresden have become almost mythical places of suffering and devastation during WWI and WWII. University of London LEARNING FROM THE LARI MASSACRES: HERITAGE AND CONFLICT RESOLUTION IN CONTEMPORARY KENYA In London during the summer of 2009 there was a battle raging in the British High Courts. 1976). Also.” (Assmann). the Memorial to the Murdered Jews of Europe and Bernauer Strasse Wall Memorial (Berlin). University of Bologna Silke Arnold-de Simine. then explanation of the memory figures which were comprised in the movie. Both cities lay in ruins but whereas the people of Ypres rejected Churchill’s wish to preserve the destroyed city as a memorial to British and Commonwealth war dead and opted instead for rebuilding and for the monumental Menin Gate. My contribution will ask what the consequences are of the coalescing of memorial and museum functions for the commemoration and remembering of these events. As such they are supposed to honour the dead and establish a community united in mourning and in the resolve to prevent the cause for grief and suffering in the future. Birkbeck College. which I shall define as “metaphorical experiencing” Coombes Annie E. Increasingly the distinction between the two institutions becomes more and more blurred: new museums often double as memorials and quite a few memorials feature so-called information centres. had been deliberately secreted away after Kenyan Independence in order to avoid embarrassment to the British Government. and finally discuss the possibility of an alternative type of experiential involvement. in Dresden the pile of rubble that was left of the Frauenkirche. These memorials in Ypres and Dresden were complemented in recent years by new war museums that have to balance the tasks of memorials and museums. Memorials are usually seen as sacred places for reverent commemoration. also how individual memory influences the establishment of one’s group memory. A COMPARATIVE More and more often these days memory museums aim to emotionally involve visitors rather than promote knowledge.

fear and survival and their frame of reference is. this paper aims to uncover the strategy of cultural identification deployed at the time. This paper is an analysis of one community’s extraordinary attempt to come to terms with this violent history through the establishment of the Lari Memorial Peace Museum. NYU. The large Diaspora of political asylum seekers in Western Europe funded this industry. This social construct of the Albanian nation was “invented” by reaching back to. Stephens Virginia. Language.who chose journal writing to cope with the separation from loved ones. The New School. who turned into witnesses in the act of story telling. NYU. Independent Researcher. The writings produced by these victims. tradition and the customary law of the highlands. Prishtina A RE-TRADITIONALIZED NATION IN VHS: THE GOLDEN AGE OF KOSOVO’S HOLLYWOOD After Milosevic revoked Kosovo’s autonomy in 1989. and the silencing of that role. University of Zurich DISCUTANT The active silence of cultural memories in post-war Kosovo’ master narrative. London RE-GENDERING THE KOSOVO LIBERATION ARMY: THE FORGOTTEN GUERRILLA OF WOMEN Across the world and throughout history. but a “mnemonic cutting” (Zerubavel 2003) has made the whole decade of the 1990s an unexamined freestanding block of time. Albanians were excluded from all aspects of institutional life. This paper does not aim to find heroes or glorify the hegemonic war narratives of the KLA. and thus it is substantially teleological and hagiographical. Breaking the silence of women combatants encourages an engagement with various gender frameworks that are absent from nation building narratives. There is also a private discourse of the war that is found in texts by non combatants . such as Kosovo. These films conflated the home with the homeland. In postwar Kosovo. tradition and history. Latin American and Luso-Brazilian Studies. was born. such a project intends to reframe how we remember and write . Krasniqi Kaltrina. By critically revisiting it. Goldsmiths University. confirmed homogeneous ideas of gender roles and social values. designed to capture evidence of Albanians’ parallel life in Kosovo for the consumption of those who lived abroad. perhaps unavoidably. This paper argues that through this forgetfulness. New York City PRIVATE DIARIES OF THE WAR V. told through family dramas. Its focus: manufacturing national unity from the anxiety of dislocation and survival. Based on preliminary findings from an oral history project with female KLA combatants. The New School.” In post-independence Kosovo. Building on Benedict Anderson’s classic work on the invention of the nation through the press (1991).from journals to autobiographies. their words. the postwar Kosovo’s dominant historical narrative has strategically silenced the memory of Milosevic’s war against civilians. to address how it managed to speak for all the people and the nation. Paradoxically.a much smaller literature . this paper seeks to question why.that focuses on the heroic deeds of the Kosovo Liberation Army (KLA). after having occupied such a key place in combat. the recent Kosovo conflict has produced a sizable body of literature . historical narratives and books of fallen martyrs . and to a perceived attack against its selfhood from the heterogeneity of the people within (Babba 1994). there are no heroes to emulate. Their stories talk about loss. It aims to be a victor’s narrative of national renewal and pride. their experiences – their memories – of their time at the front. It then explores the different forces behind the silencing of their roles as combatants and the types of narrative allowed in collective memory and remembering. project an image of the nation at war that is uncomfortable for the heroic narrative.a challenge to the gendered characterization of the nation that emerged with the victorious party of war and supported its state building project. CHAIR: Anna Di Lellio. this paper argues that visual media in the 1990s defined and diffused the imagination of an Albanian nation both in opposition to the otherness of the Serbian nation. Anna Di Lellio. women have played an active part in combat (Enloe 1989 and 2000) and yet discourses of war tend to be male dominated. overshadowing the discourse of victimhood that dominated before the war.120 British and Kenyan national press highlights the complex allegiances and betrayals which characterise colonial conflicts whose legacies resurface in seemingly endless permutations and reinventions. and their subsequent lack of visibility and input in Kosovo’s nation-building project (Krasniqi 2007). and reinterpreting. In doing so. now rebranded the land of the “New Europeans. this situation freed their creative production from direct state censorship: an independent film industry. the literature of the Holocaust. Is the forgotten warfare of women in combat due to the absence of social exchanges or a deliberate choice of silencing? This paper argues for the latter by investigating the silencing of female combatants using the example of the Kosovo Liberation Army (KLA). spurred by the VHS technological revolution. women have not defended their history. Here. but rather to draw particular attention to the role of women combatants in post-war nation-building projects. both places where tradition protected an endangered identity from the intrusion of anything that did not conform with the given representation of a society of “true blood. Prishtina. ” the war is impossible to forget yet. Independent Filmmaker. THE LIVES OF THE HEROES As in any war. but victims of a historically continuing threat to national survival -. published for a politicized consumption by the public. New York City Mevlyde Salihu. or needed the mediation of the written words to make sense of the trauma of war. the heroic discourse has occupied both the domestic and the international market. and an understanding of what women are cultural products of. Andermann Jens.

Kosova’s Women Network UNCOVERING SUPPRESSED MEMORIES OF WOMEN IN KOSOVO'S CIVIL RESISTANCE Kosovo is not unique. Tabula rasa is usually associated with modernism and contrasts the contemporary popular notions that the city is a palimpsest of embedded layers of history. Но што ако градот ја изгуби својата меморија. and with it the memory of women who arguably kept it alive for more than a decade by performing small and big acts of defiance. како израз на колективна меморија. They organized the underground Albanian language educational system when their children were ousted from public schools. what is the relationship between them in the processes of fabricating a new city. Примерот е Скопје . If history is related to documentation and record. потиснати. and its citizens are members of its urban theatricality. and memory to lived experience. ТАКТИКИ НА УРБАНИ ТРАНСФОРМАЦИИ Градот го разбираме и вреднуваме како творевина што се создава низ време. and their memories? How does the new city mask. кои се регистрираат како шумови или маргини кои треба да се надвладеат. and are the foreground. и тоа во нивните средишта. Romania Reconstruction after a war. They were the first to gain international attention for Kosovo by organizing massive public demonstrations after a decade of quiet resistance policy (Clark. This suggests a more theatrical role of the city in relation to culture. and which histories are never recorded? What are the affects of such urban theatre on the differential places of human subjectivity and agency. Резултат на еден век на модернизација е град составен од различни градови. На примерот на рецентната историја на Скопје ќе ја покажеме драматичната историја на заборавање на градот. their involvement in the civil resistance has been a victim of a disappearing act from Kosovo’s collective memory. Rogova Igballe.Кирил и Методиј УРБАНИ АГРИКУЛТУРНИ МЕМОРИИ Додека урбаното градинарење се повеќе е во подем по светските метрополи на развиениот свет. history and memory. an opportunity to reshape the image of a city but at the same time to forge a new image of national or political identity. reconstructions. fabricating. In this context. во исто време бавчите и бавчичките забрзано исчезнуваат од мапите на македонскиот град. Urban Theatre: Erasure and Memory in the City CHAIRS: Lozanovska Mirjana. This paper examines how women and their contribution to Kosovo’s independence have fallen into obscurity during Kosovo’s state-building process. Yet. Papers will examine how the city performs the exclusions. заборавени. но во стварноста тоа се различните траги на идете за градот. or remodeled by a political will like many places in the ex-communist bloc. It proposes that the city is a performance. This does not account for the interactive and differential relationships between the city. among countries emerging from war. Paris / University of Arts. bury. We argue that suppressing memory of the peaceful civil resistance in general and women’s role in this resistance reduces citizens’ activism to the act of war.121 national histories. women used their apparent harmlessness to transport food. делумно или целосна неможност да ја повикува рецентната меморија. реинвентират. or cities after the disintegration of Yugoslavia. за записи кои можат секогаш повторно да се рекомпонират. За многумина тоа се невидливи. Popescu Carmen University Paris I-Sorbonne. Тасиќ Саша: Архитектонски Факултет/Универзитет Св. in constructing a gendered national narrative that is founded on the figure of the young male warrior. while staging. мерила.Кирил и Методиј ЗАБОРАВАЈЌИ ГО ГРАДОТ. presenting and procuring others? Бакалчев Минас. различни резови. and forbid some cultural memories. Deakin University. Универзитет Св. as after a natural disaster or a change of political regime was always considered. and erasures. Nor does it account for the more diversified and invisible forms of tabula rasa. a literal and metaphoric clearing of structures to make way for a new city. When men could not leave their homes for fear of beating and arrest. This panel seeks to explore the contemporary modes of erasure. while civilians of all genders recede in the background. less active background space in which the performance of culture and life take place. неартикулирани состојби. кои сведочат за едно континуирано заборавање на градот. Предмет на овој прилог се заборавените урбани џепови и можните тактики на трансформација. Recovering this memory opens a debate on the complex nature of the resistance against oppression and the gendered characterization of the nation. like Beirut in Lebanon. Бошкова Доменика: Архитектонски Факултет. Целиот дваесети век се состоеше од серија новаторски обиди на реформулирање на градот . Australia. Во отсуството на надредени постапки. зборуваме за архипелаг на можни сеќавања. незабележливи. They held underground elections in homes and shops to create the independent institutions of a Republic of Kosovo. urban space has undergone dramatic changes prior to the end of the twentieth century. што ако ја игуби можноста за нова меморија. In traditional urban and cultural discourse the city has been presented as a marginalized. избришат. Bucharest. the memory of civil resistance during the Milosevic’s era is almost disappearing. 2000). преку серија секојдневни тактики ќе ја истражиме можноста на заборавањето како движење кон суштествените слики на просторот. culture and the actual practices of inhabitation. as well as helping to shed light on the cultural construction of gendered identities in a post-war era Farnsworth Nicole. illegal books and medicine. Affected by war. and again in recent times. фигури. Дали заборавањето може да биде модел на перцепција и трансформација на градот? Дали заборавањето од израз на деструкција може да станае модел на реконструкција на градот? Дали заборавањето може да донесе повторно читање на градот? Ако зборуваме за современ град како урбан архипелаг.

прекин со историското време. Which country pops up in your mind when I say … “banana”? (Exploring past and present symbols attached to country images today) . еден друг динамичен отворен процес низ време и простор. Проектот на послевојната станбена обнова во Скопје. и ќе го прифатиме и негуваме руралното како дел од нашата урбана култура. In a more recent textual conversation between Spivak and the theorist Judith Butler. спонтана. Implicit in this argument was the proposition that change involves theatricality and parading. Преку корисничките тактики на трансформација. the postcolonial theorist. А да се посвои парче од заедничката "празна" градска земја. програмски конфигурации. виден низ неговите клучните историски секвенци се покажува. овоштарниците. го отвора прашањето за колективната меморија на градот.. . Американ колеџ СЕЌАВАЊЕ НА МОДЕРНАТА. знаењата и вештините од градинарење или новата промоција на урбаната агрикултура. воспоставување на универзални просторни модели. Culture. Следејки ги корисничките тактики на трансформација. urban strategies and traditional mythological narratives of culture.. Но позади ова општата слика. со осврт кон современите митолошки креации за оваа крепост.. the country and the inhabitants is inscribed into their very materiality. Literature. Arts. акции од една страна се отчитува процепот кој се јавува помеѓу големите урбанистички замисли и "приземните" потреби на моментот. This will focus on the role of the Macedonian Review: History. Deakin University. as buildings are constructed a new fiction about the city. Кога ќе ги надраснеме предрасудите. The City the Country. Australia MATICA AND THE CITY OF THE FORGOTTEN EMIGRANT In a keynote address. Во таа смисла модерниот станбен проект е референтно ниво за истражување на перманентноста и променливоста на социо-културните модели на живеење изразени во нивните специфични просторни. In this paper I will discuss these inscriptions and schisms by focusing on the question of memory in relation to the immigrant as the dominant sense of the contemporary global subject. . the difference between narrative and history was debated relating this problem to who can sing the national anthem. Но токму ова екстремно сценарио на промени дава можност за една поинаква перцепција на физичките артефакти од модерната и нивното влијање во формирање на културниот идентитет на градаот. го следиме промените на социално-културните модели како и можноста на трансформација на модерната станбена архитектура во современиот град. The paper will examine the how the emigrant is absent from the city narratives and forgotten by national histories and yet embedded within its infrastructure.никаква згриженост и неотпорност на притисокот на капиталот. Agency. Сумата на локалните кориснички тактики укажува на алтернативните сценарија на обнова на модерниот проект на домување како ретериторијализација во културната меморија на заедницата. Australian Catholic University. put forward the dilemma of the architects and urbanists in relation to their practices that had participated in the ‘theatres of decolonisation’ as much as they had participated in colonization. нивите. and how such moments of mythopoetic history betray the histories that link sovereignty (the city and territoriality) to deportation. од друга. ТРАНСФОРМАЦИИ НА СТАНБЕНАТА АРХИТЕКТУРА Проектот на модерната има амбивалентно значење. од потреба или хоби (феномен во развојот на градот од 1960тите наваму) беше една спротивна пракса. Станбената архитектура од периодот на модерната стана предмет на стихијна трансформација и деструкција.. засади и да се произведе храна. тогаш и ваквите хибридни пејзажи ќе ни станат и вообичаени и посакувани и убави. This brings about the association between construction and construing. Ohrid and Bitola that evolved out of the temporary visits to the perceived homeland. Spivak commented on the complicit mixtures between architectural monuments. кревката градска "празна" земја.) и изоставените парчиња земја во внатрешноста на градот. зеленчук. од една страна. Токму во ваквите неформални. Melbourne СКОПСКАТА ТВРДИНА КАЛЕ: МИТОЛОГИЈА ИЛИ КУЛТУРНА ИСТОРИЈА Преку овој напис авторот се обидува да ја претстави културната историја на скопската тврдина Кале низ вековите. the new city and the new nation must be performed into existence. издвоивме серија социјални-просторни модели за осовремување на населбите од периодот на модерната. но од друга се отчитуваат потиснатите врски на урбаното со руралното. Gayatri Chakravorty Spivak. Неселективното пополнување на секое парче "празна" градска земја стана пракса. Виолета Бакалчев. Mihajlovski Robert. Lozanovska Mirjana. овошни дрва.122 во последниве децении кога с# помоќниот пазар на недвижности и подредените на него урбанизам и архитектура. a journal that was published by “Kulteren zivot” and distributed by Matica through the diaspora in Australia and elsewhere. Хибридните модели на во/доградба стануват примери за преклопување на локалните кориснички тактики и дадената типолошка основа на домувањето во периодот на модерната. заедно со нелегалниот програм на неа. Во процесот еднакво страдаа (и сеуште страдаат) и пејзажот по перифериите (лозјата. ја доведоа во позиција на слаба . во светлината на најновите археолошки испитувања. The interpretation of this textual construction of the distant nation will be staged in relation to the experiential narratives of the architecture of the cities of Skopje. референтноста на различните архитектонски слоеви на градот и нивно трансформирање во контекст на пост-социјалистичката транзиција. entitled.). да се обработи. Дезинтегрирањето на општата социјална основа предизвикува драматични просторни промени. која си најде "скриени" места во парчињата некогашни бавчи за да импровизира домашни градини (со цвеќе.

Cyril and Methodius/University of Bucharest. Skopje. tourism. University of Craiova.123 CHAIR: Apostolova Ivanka. Macedonia. etc. University St. language. games and role-play within small-groups or with all workshop participants.) Which can be the bearers of the symbolic meaning? (We are going to analyze several country branding campaigns to see to what extent they use the image of representative people. Monarchy to the UK and the Scandinavian countries. Department of Anglo-American and German Studies Milica Petrushevska. objects.) Are there different images projected? (We will explore whether or not there are one or multiple images of a country. in order to symbolize their countries of origin. Andreea Bratu. Faculty of Letters. The goal of the workshop is to investigate how a coherent recognizable image of different countries is formed and perceived by the others. Together with the workshop participants. the car industry relates to Germany and not to France. the media. places. Communism connected to Eastern Europe vs. The extent to which past and present moments are used to this purpose will also be explored. as well as how this image relates or not to the present-day realities of the countries. Cultural Studies. for ex. culture. University Euro Balkan. Department of Slavic Languages . education. events. A paper incorporating the workshop results will be developed and submitted to the conference proceedings as a co-authorship of the facilitators. economy. international events such as the Eurovision song contest or the Olympic Games. in particular if others perceive us the way we perceive ourselves. and not with Belgium or Switzerland. etc. Are these symbols of the past or of the present?) Who are the image makers? (We will attempt to identify the bodies contributing to the creation of the countries’ image. etc.) The workshop will use interactive methods such as image and words associations. depending on the image creator and the target audience. in order to see how they are connected to some countries and not to others. tourist agencies. we will address the following questions: Which are the components of the country image? (We are going to look at aspects related to politics. French language associates primarily with France. fares. such as the country and its official polices.